Zhu Hengfu Liao Xiaxuan Although "the script is the script of a play" is mostly for drama, for opera, the script is also an important foundation for a play, especially to perform a big drama with rich ideas, complete structure, complex plot and many characters. From the perspective of the history of the development of opera, without the production of scripts such as "Mu Lian Saving Mother", "Zhang Xie Zhuangyuan", "Jing Liu Bai Kill", "Pipa Ji", etc., Southern Opera would not have been able to prosper, let alone spread to foreign ports; Without a large number of playwrights such as Guan Hanqing, Wang Shifu, Bai Pu, and Ma Zhiyuan who worked hard to create hundreds of high-quality plays, Yuan miscellaneous opera could not have become the first peak of opera; Without the support of scripts such as "Huan Sha Ji", "Ming Feng Ji", "Peony Pavilion", "A Handful of Snow", "Peach Blossom Fan", "Hall of Eternal Life" and "Leifeng Pagoda", Kunming Opera would not have been able to go out of Wudi and dominate the national Jutan for more than 200 years. In terms of the actor's growth into a famous role, the script is also an indispensable and important factor, although a pleasant singing voice and excellent performance are necessary conditions, but if Mei Lanfang does not have the script "The Concubine Drunk", "The Heavenly Lady Scattered Flowers", etc., Cheng Yanqiu does not have the script "Lock Linsang", "Barren Mountain Tears", etc., Yuan Xuefen does not have the script "Liang Shanbo and Zhu Yingtai", "Xianglin Sister-in-law", "Xixian Ji", etc., just with their singing skills, they cannot be famous at home and abroad. Since the early 80s of the 20th century, opera has become weaker and weaker, although there are many reasons for this, but the failure to write a certain number of good scripts is undoubtedly one of the important reasons. As far as the current situation is concerned, there is no shortage of first-class troupes and first-class actors in the Chinese opera industry, but there is a lack of first-class scripts. Lacking, not that there is none, but very little. According to incomplete statistics, the total number of "big plays" and "small plays" created by the national opera industry every year is not less than 1,000. However, less than 100 films can be put on the stage, less than 10 films can be praised by experts and ordinary people, and even fewer can be performed regularly and have a market box office, at most one or two. It can be seen that the "script shortage" of opera is not that there is no script, but that there is no high-quality first-class script. So, what kind of script counts as top-notch today? In our view, at least the following five points must be met. First, in the purpose of the play, it not only shows the excellent morality, values, and social views of the national tradition, but also reflects the modern spirit, which can not only cultivate people's sentiments, purify people's hearts, improve people's qualities, give people positive energy, but also guide people to be a "modern person". The second is to tell a "good story", whose story is complete at the beginning and end, with twists and turns, strange but reasonable, and fascinating. The third is to create a distinct character image, the actions of the characters have an external environment and psychological basis, the main characters are three-dimensional, flesh and blood, rather than flat, moral symbols, and its positive characters also have the character and temperament of the nation, and even reflect the cultural character of the local area. Fourth, the structure is rigorous, the contradictions and conflicts are intense, which can bring the audience into the play, cry and laugh together with the characters they like, and their emotions of joy, anger and sorrow fluctuate with the fate of the characters. Fifth, the language of the lyrics and the words is poetic, folk and coordinated, elegant and popular, both universal Chinese and dialect characteristics, both in line with grammar and drama rhythm. Further, the tone is completely in line with the identity and character of the characters, and some of the dialogue also contains deep meaning. And most or even most of today's scripts fall into the second-rate, third-rate, or even not in the flow because they have such and such problems. To sum up, there are mainly the following five aspects. The first is to use opera as a sounding board for the so-called "spirit of the times" gained from their own thinking on history, culture and philosophy and personal understanding, and arbitrarily interpret traditional culture critically, without taking into account the morality, values, historical and social views pursued by most people. The second is to deliberately choose themes that coincide with major anniversaries or can glorify local celebrities, with the aim of incorporating the plays into the "main theme" or becoming a local "business card" in order to obtain preferential financial support from the government. Third, the story lacks a basis for life, the plot is bizarre, illogical, loosely structured, and its dramatic conflicts are mostly artificially constructed. Fourth, the character image is only the spokesperson of the author's "thought", not to mention that it has not reached the height of "typical characters in a typical environment", and even typed characters are not. The personality is not distinct, the personality is not prominent, and it is not even a "person". Fifth, the language is unnatural and unlawful. Whether it is ancient or today, the words spoken are not very like "human words". The lyrics are used to make up words for neatness and rhyme. Because the playwright does not understand the folk language and lacks the ability to express language, the characters say stereotypes, official words, and falsehoods, which make people sound awkward and boring. Objectively speaking, after the founding of the People's Republic of China, because the Party and the government attached great importance to opera, hundreds of excellent plays were produced, many of which have withstood the test of time and have not only become bone plays in their genres, but also entered the history of contemporary opera and even entered the history of contemporary literature. Why is it that in the same social environment, some people's works can be enduringly welcomed by a wide audience, while some people's plays can't be performed in one or two performances, and then the gong stops? Of course, the reasons are many, but there are also common rules to follow by in-depth examination of the life and creative path of successful opera playwrights. That is, they sincerely love opera, have been immersed in opera for a long time, or have been opera actors, or are loyal audiences of opera. They have read a large number of opera works in ancient and modern times, grasp the aesthetic characteristics of opera, and are familiar with the expression techniques of opera art. Therefore, the script written is operatic, not drama or opera; It is available for stage performances, not just desk reading. They not only understand the essence of the traditional culture of the Chinese nation, but also have modern concepts, like to think about history, observe real life, and strive to keep pace with the times is their common characteristic. Most of them were born at the bottom of society, themselves members of the common people, and thus understood the joys and sorrows of the masses and the wishes of the masses. More importantly, even if the social status changes in the future, the original intention of thinking about the fundamental interests of the people, calling for their demands, and respecting the appreciation habits of ordinary people has always remained unchanged. Therefore, the scripts they write maintain the grassroots character of opera and can meet the psychological and aesthetic requirements of the general audience. They are willing to accept new things and can view the development of opera from a dialectical point of view, so when creating scripts, they not only use new expression techniques, but also consciously consider the use of new art forms such as performance, music, and choreography. Therefore, the repertoire is upright and new, maintaining tradition and full of contemporary atmosphere, and both old audiences and young audiences can enjoy art from it. Of course, each opera playwright has a unique creative experience and creative experience, will give different inspiration to the creators of different opera scripts, in order to help the difficult trudge on the road of revitalization of opera, we have invited a group of opera researchers, especially young scholars, to carefully and meticulously study the works of contemporary opera playwrights, investigate their creative process, explore their creative methods, summarize their creative experience, of course, will also point out their shortcomings. to allow fellow practitioners to create better scripts at their starting point. There are hundreds of contemporary playwrights, and limited by time and effort, it is impossible to conduct in-depth research on all playwrights, and we can only set one criterion for selection, which is that a certain number of plays have been created, which have had a great impact after they have been staged, and most of which are loved by a wide audience and promote the development of a genre or the entire opera. Using this more stringent criteria, we selected more than 20 contemporary playwrights. However, due to the limited level of researchers, the creative experience and shortcomings summarized may not be completely in line with reality, so we ask the playwright himself and the general reader to criticize and correct.（AI翻译）