前一阵,在上海话剧艺术中心D6空间,观看了一场北京年轻新锐导演的剧场作品。全剧6个演员,身穿鲜亮的改制运动服,使用几十个手持喇叭,用游戏的方式讲述了何为他们理解的战争。如果仅从作品效果来讲,导演功力不差。时间、节奏的把握,道具的想象力和使用都可圈可点。遗憾的是,使用戏虐的方式讲述的战争并没有超过观众的常识,戏剧也并没通过这样的戏虐而增加反讽的效果,却显示出某种无知相。我突然开始理解,这类打着严肃话题实则浅薄的剧场作品为何可以在国外 A while ago, in the D6 space of the Shanghai Drama Art Center, she watched a theater project by a young director of Beijing. Six actors in the show, dressed in brightly-dressed sportswear and using dozens of hand-held speakers, used the game to tell a story of what a war they understood. If only from the effect of the work, the director skill is not bad. Time, rhythm, props imagination and use are remarkable. Regrettably, the war described in the mode of abuse did not exceed the common sense of the audience. The drama did not increase the effect of irony through such abuse, but showed some kind of ignorance. Suddenly I started to understand why these dramas, with their solemn topic but superficial ones, can be found in foreign countries