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在近年的话剧舞台上,孟京辉和张广天被称是最具冲击力的,不仅提供新鲜的形式,还提供尖锐的思想。但从他们的《关于爱情归宿的最新观念》(以下简称《关于》)和《圣人孔子》中,我们看见的却是一种匮乏。孟剧所玩弄的叙事的断裂、穿插,如果说在《思凡》中还显得连贯流畅,还有主题的回旋复沓的话,那么在《关于》中,便只给人支离破碎的感觉了。这里没有主题的复现与攀升,有的只是切割带来的延宕。一场车祸使马桶厂的青年发明家陈小龙得以与情人私奔,并眼看着车祸的受害者、落魄的足球守门员被现代医学雕刻成另一个陈小龙,占有了自己的社会身份,而自己却只能枯守着日渐磨损的爱情。他想恢复自己的身份,却被包括情人在内的人指认为精神病患者。
In recent years, the stage of the drama, Meng Jinghui and Zhang Guangtian are said to be the most impactful, providing not only fresh forms but also sharp ideas. However, from their “latest ideas about the destination of love” (hereinafter referred to as “about”) and “Confucius of Sages”, we see a lack of it. If the narrative breaks and interspersed with Meng opera, if it seems to be smooth and concise in Sifan and there is a repetition of the theme, then it will only give people a sense of fragmentation in the “about”. There is no theme of recurrence and climbing here, some just delay caused by cutting. Chen Xiaolong, a young inventor in a toilet factory, was able to elope with her lover in a car accident and saw the victim of a car accident. An absent-minded soccer goalkeeper was carved into another Chen Xiaolong by modern medicine and occupied her own social status, Guarding the growing weariness of love. He wanted to restore his identity, but was identified as a mentally ill person by a man, including a lover.