去年,彼得·布鲁克作品《情人的衣服》在京、津、沪三地巡演,成为中国戏剧界的一个重要事件。演出之后,一些媒体用“淡”来评价,似乎有一种期待未能完全达成的遗憾。上世纪80年代末,凭借著作《空的空间》,彼得·布鲁克已蜚声中国戏剧界。在最初连译者名字部没有注明的情况下,虽然大家只觉得“空的空间”语焉不详,但这个充满禅意的说法却虏获了读者的心。近年台湾译本对布鲁克“活着”的剧场阐述得较为清晰:“每一种表现形式诞生时,就已注定会死亡;每一种表现形式终将被重新建构, Last year, Peter Brook’s work ”Lover’s Clothes“ was toured in Beijing, Tianjin and Shanghai and became an important event in the Chinese theater industry. After the show, some media use ”light“ to evaluate, it seems there is a regret that expectations can not be reached completely. In the late 1980s, with his ”Empty Space,“ Peter Brooke became famous in the Chinese theater industry. In the first case, the name of the translator did not specify, although we only felt that ”empty space“ is not understood at all. However, this Zen-filled remark captures the reader’s heart. In recent years, the Taiwanese version has given a clearer account of Brooke’s ”living“ theater: ”Every form of expression is doomed to death; each form of expression will eventually be reconstructed,