写此文是了却一桩夙愿。六十年代初,中国青年艺术剧院的舞台上一批新秀崭露头角。其时,我刚从北大荒带着病困之身回来,看到剧院里我的同辈人在艺术上都各有成就,心情既兴奋又复杂。所幸青艺是我成长的摇篮,有些同志常来我的斗室与我促膝谈心,其中来得较多的有王冰。这类谈话回避触及伤痕,总是探讨文学、戏剧美学,表演理论或某一形象的创造。这友情的温暖使 This article is written but a long-cherished wish. In the early 1960s, a number of rookies on the stage of the China Youth Arts Theater came to the fore. In the meantime, I just came back from the Great Northern Wilderness with my sleepy body and realized that my peers in the theater all have their own achievements in art. They are both excited and complicated. Fortunately, young art is the cradle of my growth, and some comrades often came to my cubicle to talk with me, of which there are more Wang Bing. Such conversations avoided touching scars and always talked about the creation of literary, dramatic aesthetics, performance theory, or an image. This warmth of friendship makes