这是一个很空灵的、充满诗意美学的舞台,一些龙套演员随着面具的变换变成弄臣、眼线、百姓、儒生等各色人,凳子被非常灵活地组合成各种道具,从上而降的红绸代表着焚书的火焰,作为主人公的伏生运用了不少戏曲动作:甩发、绞柱、跌坐等,以诠释人物性格或外化特定的心理……无论是融合戏曲美学精神的中国式舞台意象的现代化表达,还是在焚书坑儒这个宏大历史背景下对主人公忍辱负重保护《尚书》的深刻刻画,这都是一 This is a very ethereal, full of poetic aesthetics stage, some of the actors and actresses as masks transform into a jester, eyeliner, people, scholars and other people, stools are very flexible combination of props, from the top down The red silk represents the flames of burning books. As the protagonist, Vouchu uses a lot of drama movements: throwing hair, twisted columns, sitting down, etc. to interpret characters’ personalities or externalize specific psychology. The modern expression of the Chinese stage imagery is also a profound depiction of the Shangshu that protects the protagonist from the bullying of the protagonist under the grand historical background of burying books and crafting Confucianism