听说王延松执导的天津人艺演出的《原野》很好,但想不到竟是这样的好。之前在看他导演的《白门柳》时,就看出了他进行历史文化思考的胆识。看了《原野》在北京的首演之后,我真想送他一顶“思想者导演”的帽子了。更关注“生命无端的毁灭”《原野》艺术上的戛戛独创,都源于导演解读戏剧文本。那几个陶俑类形象,宛如古希腊悲剧中的歌队,乃是思想的形象载体。它们虽然在戏中的出现可能过于频繁,让人有些应接不暇,但它们在 I heard that Wang Yansong’s Talent Show performed in Tianjin’s “wilderness” is very good, but unexpectedly it is so good. Before looking at his director, “White Gate Willow”, we can see that he had the courage to think in history and culture. After reading the movie “Wilderness” premiered in Beijing, I really wanted to send him a “thinker director” hat. More concerned about the “destruction of life,” “Wilderness,” the original art of the site, both from the director interpretation of the dramatic text. Those few figurines class image, like the song of the ancient Greek tragedy, but the image carrier of thought. Although they may appear too often in the play, people are overwhelmed, but they are in