无场次抒情音乐喜剧《车站》,是写一群乘客在郊区某车站(剧本把车站象征为“人生的某个十字路口”)等公共汽车进城,然而车却始终不在这里停靠。他们等了一天又一天、一年又一年,才终于发现“站牌”可能失效,“线路”已经改变。等车的人中间有一个“沉默的人”,在第一次车未停靠之后就离开了车站,自己走了。等车的各种人在候车时相互交谈,表现了他化的身份、乘车的目的,也涉及了当前现实生活中的某些现象和问题。该剧采取小剧场演出形式,台词很多时候是用“多声部”,即多人同时说出的。自《车站》在刊物上发表(《十月》一九八三年第三期)并在北京人民艺术剧院小剧场公演以来,在读者和观众中引起了很大争议。许多人明确指出,这个戏在思想内容上、在若干带有倾向性的问题上,存在着较为严重的错误。也有人认为这个戏是创新探索的新成果。我们认为,《车站》的出现,是去年戏剧创作和戏剧舞台演出中一个值得注意的现象。一九八三年十二月中旬,本刊邀请评论工作者唐因、杜高、郑伯农三位同志,就《车站》这个戏进行座谈。下面发表的,就是他们在这个座谈会上的发言摘要。 The no-stop lyric music comedy “Station” is to write a group of passengers in the suburbs bus station (the station symbolizes “a crossroads of life”) and other buses into the city, but the car has not stopped here. They waited day after day, year after year, and finally found that “Stop Sign” might fail, and “Route” had changed. Waiting for the middle of the car there is a “silent person”, after the first car left the station without leaving, leaving. Various people waiting for the car to talk to each other in the waiting time, showing his identity, the purpose of riding, but also involves some of the current real-life phenomena and problems. The play takes the form of a small theater, the lines are often used “polyphony”, that is, many people at the same time say. Since the publication of the “Station” in the publication (“October”, the third issue of 1983) and its performance at the Beijing People’s Art Theater Small Theater, there has been a lot of controversy among readers and audience. Many people have clearly pointed out that this play has some serious mistakes in the ideological content and in a number of tendencies. Some people think that this drama is a new achievement of innovation and exploration. We think the emergence of the “station” is a notable phenomenon in the theater productions and theatrical performances last year. In mid-December 1983, the magazine invited commentators Don Yin, Dugao and Zheng Bainong to hold a discussion on the “station” scene. The following is a summary of their speeches at this forum.