反对绝对服从导演并有“失落感”的演员们,大都不满意导演“重形式而轻内容,忙于舞台技法创新而冷淡了演员”他们大都是倾向现实主义的。而强调导演主体意识的导演,看来大都是倾向象征主义和表现主义的。他们在理论上一般也不反对观实主义,却常把矛头对准斯坦尼斯拉夫斯基及其体系。我人为,在艺术上反对一种流派、一种学说“独尊”或“独霸”,这在原则上是正确的。从发展趋向上看,现在和今后也不应再在风格、流派上出现新的一派“独尊”。戏剧思维正在向多元化发展。现实主义戏剧本来也不应受固定的手法和形式的限制,只允许写实手法、模仿自然。现实主义的道路是广阔的,其领域可 Opponents absolutely obey the director and “lost sense” of the actors, most are not satisfied with the director, “heavy form and light content, busy with innovations in stage techniques and frigid actors” Mostly they tend to realism. The directors who emphasize the director’s sense of subject, it seems, tend to be predominantly symbolism and expressionism. They generally do not oppose realism in theory, but they often target Stanislavsky and his system. It is in principle correct that I, artificially, oppose a genre, a doctrine of “monopoly” or “domination.” From the perspective of development trend, no new style of “sole respect” should appear in style and genre now and in the future. Dramatic thinking is moving toward diversity. Realistic drama should not have been fixed by the practices and forms of the original, only realism, imitation of nature. The road to realism is vast and its area can be