北京時期的高行健是我欽佩的一位作家，戲如其人 1982年夏，獲得公演的高行健第一部篆作《絕對信號》轟動了北京，以現實與幻想、敘述與象徵、意識活動與潛意識世界的錯置、交織及其視覺化，改變人們的觀賞習慣：戲劇竟然可以這麼寫、這麼演！訝異與愉稅同生並存。《絕對信號》所做的實驗在全國許多地方引起響應。 對「多聲部」的《車站》卻褒貶不一。但是實驗的意義就在於實驗，它提供了戲劇的另種新可能。 1985年公演的《野人》是一部真正的複調戲劇。它所包含的主題及其所綜合的原生態非文人文化專題之多、它結構上的不同聲部的對立、它所表現的錯綜複雜情感的交織、其中所傳達的作者的價值取向及價值判斷，都顯示出極大的涵蓋面、包容量和極強的張力。從它產生至今十六年來，據我寡見，在大陸尚無一齣戲能超出它。 高行健是位目標明確、思想清晰、勇於實驗的戲劇創新者。 高行健是位博學廣納的學者。

　　　　　When Gao Xingjian was in Beijing, I witnessed the man and his work with admiration. During the summer of 1982, the production of his first play The Absolute Signal made a great uproar in Beijing. The production interweaved reality and fantasy, narration and symbol, displaced conscious and subconscious actions, which changed the habit of the theatergoers and made them see that a play could be written and produced in such an unusual way. What a surprise and excitement! The success of the experiment set an example for many to follow on mainland China. The experiment of polyphony in his The Bus Station received controversial criticism. However, the significance of experiments lies in the possibility of producing new forms of drama. The production of his Wilderness Men in 1985 was a real polyphony. It consisted of various forms of aboriginal culture, of the interweaving of complex feelings, showing the profundity of his sentiments. In the past 16 years since then, I have yet seen any better play than that. Goa has a clear aim and mind of his own, daring to try new forms of theatre. He is a learned scholar.