本刊的新栏目《外国戏剧家》和读者见面了。我们想在这个栏目中有计划地介绍当代最有成就的外国戏剧家(包括剧作家,也包括导、表演艺术家和戏剧理论家),以便为不谙外文的戏剧爱好者添一扇了解国外戏剧发展的窗口。考虑到近年来的中外戏剧交流较为活跃,对一些已为中国观众、读者所熟悉的著名外国戏剧家,如奥尼尔、阿瑟·米勒、阿尔布卓夫等等,本刊就不再作重复的介绍了。这个栏目将重点介绍二次世界大战后崛起的、并在较大范围内产生影响、同时又不大为中国观众熟悉的外国戏剧家。需要说明的是,介绍的顺序完全取决于成稿的先后以及国内舞台演出的实际状况,并不表示我们对这些戏剧家的评价,更无厚此薄彼之意。各民族之间的文化影响从来都是相互的。每个民族的戏剧文化成果亦是全人类共同的精神财富。在改革与开放的年代,我们更应当从它民族和它语系的文化中有所借鉴(这当然包括有所批判、有所扬弃二者)。以发展中国特色的社会主义戏剧。希望关心本刊的朋友们能把对这个栏目的意见及时告诉我们,以改进工作。 Our new column “Foreign Dramatists” met with our readers. We would like to introduce some of the most accomplished contemporary foreign dramatists (including dramatists, directors, performance artists and theatrical theorists) in this section in a planned way in order to add an understanding of foreign dramas to foreign-speaking theater fans Development window. Considering the more active exchange of Chinese and foreign plays in recent years, this magazine will not duplicate the famous foreign dramatists such as O’Neill, Arthur Miller, and Albroch, who are already familiar with Chinese audiences and readers. introduced. This section will focus on the foreign dramas emerging after World War II and influencing them to a large extent, while not too familiar to the Chinese audience. What needs to be explained is that the order of presentation depends entirely on the quality of manuscripts and the actual situation of the domestic arena. It does not mean that we have no comments on these dramatists, nor does it mean anything. The cultural influence among peoples has always been mutual. The cultural and cultural achievements of each nation are also the common spiritual wealth of all mankind. In the era of reform and opening up, we should draw lessons from the culture of its people and its language (which of course includes both criticism and discard). In order to develop socialist drama with Chinese characteristics. Hope to care about the magazine’s friends can put forward the views of this section promptly tell us to improve their work.