前不久,由一群名不见经传的戏剧界新人排演的法国荒诞派名剧《阳台》(孟京辉导演,中央实验话剧院演出),以与传统写实主义戏剧大相径庭的戏剧逻辑与强烈的形式感与风格化,令戏剧界为之瞩目。也许因为《阳台》所表露的锐利风格与先锋精神给人留下的印象较深,专家们大多在心情激动地谈论这群年轻人的才情与勇气,而其实,《阳台》作为一出戏本身的艺术追求是更值得探讨的。《阳台》讲述了一个荒诞不经、边界模糊的故事:一座小城中有个叫做“阳台旅馆”的妓院,它为人提供的不是简单的肉体满足,而是精神上的一切需求。顾客们无视正在发生的革命,冒着枪林弹雨来到这里,穿上妓院提供的服装,拿上道具,和与之配戏的女招待一起在各种各样的排练场里扮演着各种各样他们心神向往的形象:主教、法官、将军……几乎所有的演员在剧中部具有双重的形象,一个是剧中人的 Not long ago, the French absurd drama “The Terrace” (directed by Meng Jinghui and the Central Laboratory of theatrical Theater) rehearsed by a group of unknown newcomers to the dramatic world, featuring dramatic logic and strong sense of formality and style So that the dramatic world for attention. Perhaps because of the sharp style and the avant-garde spirit impressed on the balconies, most of the experts talked excitedly about the talent and courage of these young people. In fact, the “balconies” The pursuit of art is more worth exploring. The balcony tells the story of an absurd, ambiguous border: there is a brothel in a small town called a “balcony hotel,” which provides not all simple physical fulfillment, but all spiritual needs. Customers disregard the ongoing revolution, come here with bullets, wear costumes from brothels, take props, and play with their waitresses in a variety of rehearsal venues to play a variety of their minds Longing for the image: bishops, judges, generals ... ... Almost all of the actors in the middle of the show has a dual image, one is the play’s