写史之难,自古而然。中国自有话剧以来,在八、九十年间,几乎没有一部像样的话剧史或现代戏剧史。新中国成立以前,朱双云、向培良、洪深、马彦祥等都在这方面做过工作。但从他们的文章来看,所写的情况大多是片断的、不全面的。解放后,张庚写过《中国话剧运动史初稿(第一章)》,由于某种政治原因,下文是泥牛入海,再未见消息。欧阳予倩写了《回忆春柳》、《谈文明戏》等。一九五七年纪念话剧运动五十周年,之后,由中国戏剧出版社编辑出版了《中国话剧运动五十年史料集》(一、二、三辑)。实际上不过是供史家选择并需要鉴别、鉴定的史料合集。真正称得上中国话剧史或中国现代戏剧史的,只有今天摆在我们面前的这 Writing history of the difficulties, since ancient times. Since its own play in China, there have been hardly any decent drama history or modern drama history in 1980s and 1990s. Prior to the founding of New China, Zhu Shuangyun, Xiang Peiliang, Hongshen and Ma Yanxiang all worked in this field. However, according to their articles, most of the situations written are fragmentary and incomplete. After the liberation, Zhang Geng wrote “the first draft of Chinese drama history (Chapter 1)”, for some political reason, the following is a coward into the sea, no news. Ouyang Yu Qian wrote “Memories Spring Willow”, “talk about civilized drama” and so on. After commemorating the fiftieth anniversary of the 1957 dramatic movement, the Chinese Theater Press compiled and published the Fifty-year Historical Materials of the Chinese Drama Movement (Series One, Two and Three). In fact, but for the selection of history and the need for identification, identification of historical data collection. What really stands out in the history of Chinese drama or the history of modern Chinese drama can only be found before us today