姚扣根

记得一件事，1982年与陆军同学一起游琅琊山。

1981年11月，上海举办首届戏剧节。这种规模巨大的艺术节在国内尚属首例，全国戏剧界的许多著名艺术家陆续会聚上海。我刚从上戏毕业，分在剧协，白天开座谈会，晚上陪着看戏，空时整理材料，还忙着迎来送往。戏剧节，很热闹，大伙摇旗呐喊，想不到冒出了一匹黑马，陆军的《定心丸》。80年代是先有好戏后有大奖的年代，《定心丸》拿了首届戏剧节的大奖，《解放日报》破天荒地连载了陆军的剧本。当然，这件事无疑造成了划时代的影响，成为有据可查的长久记忆。实际上，在我的印象中，剧本的传播远远不及舞台演出的轰动，当时的剧场观众对看戏的疯迷，绝不亚于今天青少年对流行音乐的痴狂。我记得，许多老艺术家对该戏的肯定，对二十多岁的陆军，对上海这么一个工业城市出了那么一个清新脱俗的农村戏，纷纷发出由衷的赞美，场内场外说了许多鼓励的话。当时，剧协负责人姚时晓，这位在延安鲁迅艺术学院戏剧系担任支部书记的老同志，说松江那个会写戏的徐林祥，培养了一个年轻编剧叫陆军。我告诉他，陆军是我的同班同学，是我们的班长。

第二年，剧协组织上海的剧作家赴安徽凤阳地区采风，陆军作为上海市最年轻的编剧列入名单。剧协领导与陆军所在的单位打招呼，安排他和我两个人一起打前站，说他可以帮助我们安排哪些活动可以使剧作家们感到真正的满意。后来，随大部队同行的还有分在《新民晚报》当记者的俞亮鑫同学。

我和陆军到了安徽滁州，安排好整个活动的行程，利用大部队还没有到达的空隙，去了那个产生《醉翁亭记》的琅琊山。那时候的我，还不理解欧阳修醉在山水之间的难言之隐，与陆军在“林壑尤美，望之蔚然而深秀”的山道上大步行走，大声背诵。那时候的游人不多，我们没钱也无处买酒喝，就着欧阳老头的名文片段尽着兴趣，直游到夕阳在山，树林阴翳，鸣声喧闹，才匆匆下山，归去。

1982年5月16日，我的工作手册上，简单地记了一笔：与陆军游琅琊山，乐在戏剧之间。

时隔一年，陆军再露锋芒，他的《瓜园曲》获得了第三届戏剧节大奖。之后，他年年有戏，获奖无数，成了戏剧奖项专业户。20世纪90年代，陆军作为重量级的编剧人才回到母校，进入戏剧教学领域。

出了上戏，又回上戏，一晃四十年，朝如青丝暮成雪，当年一个班十几个同学，就我们俩尚赖在戏剧的怀抱里。

美国有位教育专家说，中国有一些教授，到了一定的年龄，就没有了追求学问的热情。可惜他没有看到我们有的教授越战越勇，没有知悉我们有的学者到了一定年龄的爆发。陆军教授离开戏文系主任岗位的第一天，曾在微信群里发布过一个当天日程，满满的事务仿佛是秘书布置的时间安排表，精确到以分钟计算。

他仍然手机座机此息彼作，微信短信频频不断，子夜时分还叮叮地不休息。因为在同一处办公，有时候我和他一起出办公室到饭堂吃饭，短短的途中总会碰上一些老师或学生阻拦。遭遇这种情况，我通常不会停止脚步作稍等状的。保不准，等我吃了饭后，他还在路上与人谈着。

繁忙与静寂，这相反相隔的两个极端，能在陆军身上获取最大的平衡和统一。他的生活非常单调，他给自己起了个网名：简单生活。他四十年如一日，每天晨起六点多驱车进校，经常晚上十点看完戏回家，节假日、暑假寒假也常常如此。他不喜欢旅游，国外出访同样不喜欢；不喜欢跳舞，卡拉OK同样不喜欢；不喜欢炒股经商开公司，无聊应酬同样不喜欢。

大学之道，知止而后有定，定而后能静。陆军的忙与静，犹如“大隐隐于朝”，是在杂乱事务中保持着清净无瑕，以定位静的心境；他的安而后能虑，仿佛“空即是色、色即是空”，有着在万籁俱寂中细细过滤戏剧万相的心灵享受。对生活，他简单；对事业，20 世纪80年代他是全国劳模，21世纪又评为上海劳模，始终充满激情与遐想。不过，他乐在其中的“中”有所膨胀，剑指的不仅是戏剧创作，而且有着教学和研究，及笼盖四野的编剧学。

编剧学，隶属戏剧与影视学，是一门新兴学科。2007年，由当时担任上戏戏剧影视文学系主任的陆军教授第一次提出，至今已经有十个年头了。但是，陆军真正以全身心地投入，却是卸下戏文系主任之职以后的事。他无官一身轻，卸了戏文系主任，推了创作中心主任之职，也婉拒了社会上一切高薪的聘请，并大量删减了许多社会的活动。

他简单生活的本意，有一个目标，存一个念头：学生戏剧创作的诗，上戏学科建设的远方。

陆军主攻编剧学，有一个很好的切入点。

陆军在读书期间，热心攻读外国话剧，做了大量的读书笔记，大部分研究有着自己独到的读解。这一点从他发表的《不可忽略了萧伯纳》一文中可以看出些端倪。有趣的是，学院对编剧的考察以及对戏剧理论的研究，大多借鉴了欧美理论，对经典话剧理论和技巧相对重视。陆军则出自戏曲创作的偏爱，研究的重点迷恋在古典戏曲理论领域。他对学习古典剧籍有所偏爱，并由此闯进一片无垠的天地，潜心于中华古典文学艺术理论的学习。

有一次，他闻听到徐中玉先生出版了《中国古代文艺理论专题资料丛刊》，欣喜若狂，立即上网购买，连夜拜读。他说，早就耳闻著名文艺理论家徐中玉先生，博览群书取精用宏地亲做卡片，百岁的他能于2013年在一生心血收集的知识资料中精心挑选和梳理，出版了四卷本的丛刊，实是我辈学者的幸福。陆军对这种学术信息如数家珍。这种对传统文艺理论的关注，充分反映了陆军对中国戏剧理论的关注扩散到更为宽广的天地，不仅文论，还有画论、书论、乐论、曲论等。他经常对同学们说，从一个编剧的角度，那些古典文学理论的概念与范例，是戏剧创作必不可少的学习内容。由于专业的兴趣，他的视野不断开拓，涉及对戏剧创作有帮助的许多领域；由于长年的积累，他做到了创作与理论两翼展翅，做到了坐拥群书，网搜天下，有资格和资历进行编剧学科的驰骋。

陆军认为，上戏建设编剧学有一个很好的资源库。

上戏近七十年的教学，已经形成了一个有着完整系统的学科体系。上戏近几年的教学改革，雨后春笋的工作坊和实验室，也提供了许多具有强烈个人风格的新教学法。陆军本人在长期教学的基础上不断创新，如他运用了奥卡姆剃刀的原理，“如无必要，勿增实体”，以最简单简约的理论设计编剧教学框架，创设“百·千·万字剧”编剧工作坊，以戏核、戏眼、戏骼的三个关键知识点，开启学生对剧场大幕拉开的认知。此种具有强烈个性的教学方法一经实践，网络上便获得颇多点赞，点击量一周就有九十余万。

稳定的专业知识体系和灵活个性化的编剧工作坊，两者有所补充，相互促进，各有发展，较好地应对了对未来个性化编剧发展的培养需要。

近几年，陆军以编剧学学科负责人的身份，重新整理出版了顾仲彝、熊佛西等前辈教师的编剧教材，邀请了国内外许多编剧大师来学校作编剧经验讲座；编辑了各类型的影视、话剧、戏曲、舞剧、音乐剧、歌剧等的戏剧故事集；汇编了多卷本新文化运动后的戏剧创作理论资料；广泛收集了国内外大学编剧专业的教材、教程和论著。

陆军学术视野的开阔，出手是一套组合拳，出版是一套大丛书。百余部出版的教材和论著，勾勒出一个比较完整的关于编剧学的学术框架。这些需要花大量时间所做的琐碎工作，选定、审阅和校对，他说这是系统拜读、集体消化和列队致敬。

竞技类体育是争第一，除此之外的名次在冠军者的国歌面前总有那么一点点的尴尬。艺术创作的最高境界是创作“这一个”，其他合并同类项的成功未必出自艺术家的心甘情愿。努力表现出独特的自己的想象，创造出前不见古人后不见来者的艺术形象，这是艺术的价值。艺术的标新立异，需要有与他人不同的经历、见识，包括有站在时代前沿的思考，以及形象思维耸立下的扎实理论底座。

艺术学科的跑马圈地，雄心在于欣赏和吸收不同艺术观念、学术观点的冲突和碰撞，让后来者踏在巨人的吵架中成长。今天，艺术高校有不少教师不懈地寻求各自专业的新观念、新方法、新视角和新技术。今天，编剧的西方与东方，编剧的理论与实践，编剧的技巧训练与审美想象，有关编剧学问的争论已经充实于各个角落，呈现了强悍的生命力。如此这般，学科大家庭的建设，需要静下心来，花费大量的精力去梳理各种大小不同的理论丛林；需要宽容的心态、坐冷板凳的精神和营造百花齐放百家争鸣的环境。

上戏的编剧学尚在去咖啡馆的路上。19世纪中期，德国美术史专家海尔曼·海特纳第一次提出艺术学的概念。160年后，艺术学于2011年成为独立的学科门类，与文学、哲学、经济学等其他12个学科门类，构成了当代意义的中国学科构架。在知识爆炸的今天，一个新学科从无到有的孕育也许不需如此漫长，但要成长为新的生命也是路漫漫的求索，需要众多艺术学者付出极大的智慧、毅力和勇气。所喜的是，上戏依赖学科建设，初步营造了以艺术创作为天职，以学术研究为后盾的氛围。更令人高兴的是，陆军带领下的学科团队正越来越壮大，他们拿下了一些国家级和省市级的科研项目，也不断推出了一些成果，如《中国现当代编剧学史料长编》《编剧学刊》《编剧学词典》《编剧学导论》等。

又如，陆军这一本《编剧学论稿》的论文集即将付印出版。该书稿，汇集了他近几年对编剧学的思考，虽然看上去还没有构成一个严谨完整的学术体系，但都是他独特的思想和表达，其中文章涉及的各个方面多少表达了他接触到的学科思考之深之广。作为老友，和当年同学时代一样，我经常是他文章的第一阅读者，与他以文品茶，相与析过。为此，他热情相邀，要我写个序说点什么。我欣然从命，却不知道该说些什么。我清楚，这些文章在学术意义之外还有一些不能言说的价值，那里蕴藏着无意割爱的创作才华，和明白意义重大的义无反顾。

1982年的工作手册，怎么会写下“乐在戏剧之间”？

当年心向往之的，是一种醉同众乐、醒写戏文的洒脱；今日卧槽之志的，是一种站在时代前沿对艺术知识骤增与创新的好奇和兴奋。今天的陆军教授驰骋百科之林，浑身散发出强劲活力。我想，他的乐，应该还在戏剧之间。

2017年10月于上海

（作者为文学博士，上海戏剧学院教授，博士生导师）

Yao Kougen remembers one thing, in 1982, he traveled to Langya Mountain with his army classmates. In November 1981, Shanghai held its first Drama Festival. This is the first of its kind in China, and many famous artists from the national theater industry have gathered in Shanghai. I just graduated from the play, and I was assigned to the drama association, holding symposiums during the day, watching the play at night, sorting out materials in my spare time, and busy welcoming the arrival. The drama festival is very lively, everyone is shaking the flag and shouting, and I can't imagine that a dark horse has emerged, the Army's "Reassuring Pill". The 80s was the era of good dramas and then awards, "Reassuring Pill" won the first drama festival award, and "Liberation Daily" serialized the script of the army for the first time. Of course, this incident undoubtedly had an epoch-making impact and became a well-documented long-term memory. In fact, in my impression, the spread of the script was far less sensational than the stage performance, and the theater audience at that time was no less crazy about watching the play than today's teenagers are obsessed with pop music. I remember that many old artists affirmed the play, expressed heartfelt praise for the army in their twenties, and for such a fresh and vulgar rural drama in an industrial city like Shanghai, and said many words of encouragement inside and outside the field. At that time, Yao Shixiao, the head of the drama association, an old comrade who served as the branch secretary of the drama department of Yan'an Lu Xun Art College, said that Xu Linxiang, who could write plays in Songjiang, had trained a young screenwriter called Jun. I told him that the Army was my classmate and our squad leader. The following year, the Drama Association organized playwrights from Shanghai to go to the Fengyang area of Anhui Province to collect styles, and the army was included in the list as the youngest screenwriter in Shanghai. The leader of the drama association greeted the unit of the army, arranged for him and me to play the front station together, and said that he could help us arrange what activities would make the playwrights feel truly satisfied. Later, accompanied by Yu Liangxin, a reporter in the Xinmin Evening News, accompanied by the army. The army and I arrived in Chuzhou, Anhui, arranged the entire event, and took advantage of the gap that the large army had not yet arrived to go to Langya Mountain, where the "Legend of the Drunken Weng Pavilion" was produced. At that time, I still did not understand the unspeakable concealment of Ouyang Xiu's drunkenness between mountains and rivers, and walked with the army on the mountain road of "the forest is beautiful, and the view is beautiful but deep", reciting aloud. At that time, there were not many tourists, we had no money and nowhere to buy alcohol and drink, so we were interested in the fragments of Old Man Ouyang's famous text, and swam straight to the sunset in the mountains, the woods were overcast, and the sound was noisy, before hurriedly descending the mountain and returning. On May 16, 1982, my workbook made a brief note: Traveling with the Army to Langya Mountain, enjoying the drama. After a year, the army once again showed its edge, and his "Melon Garden Song" won the third drama festival award. After that, he played every year, won numerous awards, and became a professional in drama awards. In the 90s of the 20th century, the Army returned to his alma mater as a heavyweight screenwriter and entered the field of drama teaching. Out of the play, back to the play, forty years, like green silk twilight into snow, a class of more than a dozen students, just the two of us are still in the arms of the drama. An education expert in the United States said that some professors in China have no enthusiasm for pursuing knowledge when they reach a certain age. It is a pity that he did not see that our professors became more and more courageous, and did not know that some of our scholars broke out at a certain age. On the first day that the army professor left the post of head of the drama department, he posted a schedule for the day in a WeChat group, full of affairs as if it was a schedule arranged by the secretary, accurate to the minute. He still works on his mobile phone landline, frequent WeChat text messages, and does not rest at midnight. Because I was working in the same place, sometimes I went out of the office with him to eat in the cafeteria, and I would always encounter some teachers or students blocking me on the short way. In this case, I usually don't stop and wait for a while. By the time I've eaten, he'll still be talking to people on the road. Busyness and silence, the opposite polar extremes, can achieve the greatest balance and unity in the army. His life was very monotonous, and he gave himself a screen name: Simple Life. For forty years, he drove to school at 6 o'clock in the morning, often went home after watching a play at 10 p.m., and often did the same during holidays, summer and winter vacations. He doesn't like to travel, and neither does visiting abroad; I don't like dancing, and so does karaoke; I don't like to speculate in stocks, do business and open a company, and I don't like boring entertainment. The way of university, knowing and then having certainty, and then being able to be quiet. The busyness and tranquility of the army, like "the great hidden in the dynasty", is to maintain a pure and flawless state of mind in the chaotic affairs, so as to locate the quiet state of mind; His peace and then thoughtfulness, as if "emptiness is color, color is emptiness", and has the enjoyment of the soul that carefully filters the drama in the silence. For life, he is simple; For career, he was a national model worker in the 80s of the 20th century, and was rated as a Shanghai model worker in the 21st century, always full of passion and reverie. However, the "middle" that he enjoys is somewhat inflated, referring not only to theater creation, but also to teaching and research, as well as the screenwriting of Shino in the long cover. Screenwriting, affiliated with drama and film and television, is an emerging discipline. In 2007, it was first proposed by Professor Army, who was the head of the Department of Drama, Film and Television Literature at the time, and it has been ten years since then. However, the Army's true dedication came after he stepped down as head of the drama department. He stepped down as the head of the drama department, pushed him to the post of director of the creative center, declined all high-paying offers in society, and greatly cut many social activities. The original intention of his simple life is to have a goal and save an idea: the poetry created by the students' drama, and the distant construction of the drama discipline. The Army majored in screenwriting and had a good entry point. During his studies, the army enthusiastically studied foreign dramas, made a large number of reading notes, and most of the research had its own unique reading understanding. This can be seen from his article "George Bernard Shaw" published by him. Interestingly, most of the school's investigation of screenwriters and the study of drama theory draw on European and American theories, and attach relative importance to classic drama theory and techniques. Jun came out of a preference for opera creation, and his research focused on the field of classical opera theory. He had a preference for studying classical drama, and from this he broke into a boundless world and devoted himself to the study of classical Chinese literature and art theory. Once, when he heard that Mr. Xu Zhongyu had published the "Special Information Series on Ancient Chinese Literary and Art Theory", he was overjoyed, and immediately bought it online and read it overnight. He said that he had long heard that Mr. Xu Zhongyu, a well-known literary and art theorist, had read a lot of books and made cards with grand hands, and that in 2013, he was able to carefully select and sort out the knowledge materials collected through his life's painstaking efforts and publish a four-volume series, which is indeed the happiness of scholars of my generation. The Army treasures this kind of academic information. This kind of attention to traditional literary and art theory fully reflects the spread of the army's concern for Chinese drama theory to a wider world, not only literary theory, but also painting theory, book theory, music theory, music theory, and so on. He often told his classmates that from the perspective of a screenwriter, the concepts and examples of classical literary theory are indispensable learning content for drama creation. Due to his professional interests, his horizons have been constantly broadened to cover many fields that have contributed to theatrical creation; Due to years of accumulation, he has achieved the wings of creation and theory, and has achieved the ability and qualifications to gallop in the screenwriting discipline by sitting on a group of books, searching the world on the Internet. The Army believes that there is a good resource library for drama construction screenwriting. After nearly 70 years of teaching on the opera, a complete and systematic discipline system has been formed. The pedagogical reforms of recent years, the mushrooming workshops and laboratories have also provided many new pedagogies with a strong personal style. The army himself continues to innovate on the basis of long-term teaching, such as he used the principle of Occam's razor, "if it is not necessary, do not add entities", designed the screenwriting teaching framework with the simplest and simple theory, and created the "100 Thousand Words Play" screenwriting workshop, which opened students' understanding of the opening of the theater curtain with the three key knowledge points of drama core, drama eye and drama. Once this teaching method with strong personality was put into practice, it received a lot of likes on the Internet, with more than 900,000 hits a week. The stable professional knowledge system and flexible and personalized screenwriting workshops complement each other, promote each other, and each has its own development, which better responds to the training needs of future personalized screenwriting development. In recent years, as the head of the screenwriting discipline, the army has reorganized and published the screenwriting textbooks of Gu Zhongyi, Xiong Fuxi and other senior teachers, and invited many screenwriting masters at home and abroad to give screenwriting experience lectures at the school; edited theatrical story collections of various genres of film and television, drama, opera, dance drama, musical, opera, etc.; compiled multi-volume theoretical materials on theatrical creation after the New Culture Movement; We have collected a wide range of textbooks, tutorials and treatises on screenwriting in domestic and foreign universities. The army's academic horizons are broad, the shot is a set of combination punches, and the publication is a large series of books. More than 100 published textbooks and treatises outline a relatively complete academic framework on screenwriting. These are trivial tasks that take a lot of time to do, selecting, reviewing and proofreading, which he says is systematic reading, collective digestion and line tribute. Competitive sports are competing for the first place, and other rankings are always a little embarrassing in front of the champion's national anthem. The highest state of artistic creation is to create "this one", and the success of other mergers and similar projects may not come from the artist's willingness. It is the value of art to strive to express one's own imagination and create an artistic image of those who have not seen the ancients before and those who have not come after. The novelty of art requires different experiences and insights from others, including thinking at the forefront of the times and a solid theoretical foundation under image thinking. The ambition of the art discipline is to appreciate and absorb the conflicts and collisions of different artistic concepts and academic views, so that latecomers can grow up in the quarrel of giants. Today, many teachers in art colleges and universities are relentlessly seeking new ideas, new methods, new perspectives and new technologies in their respective majors. Today, the West and the East of screenwriting, the theory and practice of screenwriting, the skill training and aesthetic imagination of screenwriters, and the debate on screenwriting have been enriched in all corners, showing strong vitality. In this way, the construction of the discipline family needs to calm down and spend a lot of energy to sort out the theoretical jungle of various sizes; It requires a tolerant mentality, a spirit of sitting on a cold bench and an environment where a hundred flowers bloom and a hundred schools of thought contend. The screenwriter of the play is still on his way to the café. In the mid-19th century, the concept of art science was first proposed by the German art historian Heilmann Heitner. After 160 years, art became an independent discipline in 2011, and together with 12 other disciplines such as literature, philosophy, and economics, it constitutes the framework of Chinese disciplines in contemporary sense. In today's knowledge explosion, the incubation of a new discipline from scratch may not need to be so long, but it is also a long way to grow into a new life, which requires great wisdom, perseverance and courage from many art scholars. Happily, the opera relies on the construction of disciplines, and initially creates an atmosphere with artistic creation as its vocation and academic research as its backing. What is even more gratifying is that the discipline team under the leadership of the Army is getting stronger and stronger, they have won some national, provincial and municipal scientific research projects, and have continuously launched some achievements, such as "Long Compilation of Chinese Modern and Contemporary Screenwriting History", "Screenwriting Journal", "Screenwriting Dictionary", "Introduction to Screenwriting", etc. Another example is the Army's collection of essays on "Screenwriting Essays" that will soon be printed. Although it seems that it does not constitute a rigorous and complete academic system, the manuscript of the book is a collection of his unique thoughts and expressions, and the various aspects covered in its Chinese chapters more or less express the depth and breadth of the discipline he has come into contact with. As an old friend, as in the days of my classmates, I was often the first reader of his articles, and I had tea with him. For this reason, he warmly invited me to write a preface to say something. I gladly complied, but I didn't know what to say. I know that these articles have some unspeakable value beyond their academic significance, where they contain creative talent that has no intention of cutting love, and a sense of great significance. How could the 1982 workbook write "Fun Between Dramas"? What my heart yearned for back then was a kind of drunkenness and relaxation of writing dramas; Today's ambition is a curiosity and excitement that stands at the forefront of the times for the sudden increase in artistic knowledge and innovation. Today's Army professors are galloping through the encyclopedia, exuding strong vitality. I think his music should still be between dramas. October 2017 in Shanghai (the author is a doctor of literature, professor and doctoral supervisor of Shanghai Theater Academy)（AI翻译）