一位外国雕刻家有一句名言:“雕刻是怎样的呢?你拿起斧头来,大刀阔斧,把不要的东西统统砍去就是了。”这里谈的是雕刻创作必须高度集中、概括,剔除一切蔓杂的多余之物。其实,一切形式的艺术创作无不如此。我国戏剧界一位老前辈曾以吸铁石来比喻戏剧创作的集中:原来分散的东西经它一吸,需要的东西聚拢起来,凡不需要的东西则纷纷落入戏外。戏剧创作受着午台时间和空间的严格限制,要求高度的凝炼,有时为了压缩几分钟的戏竟是那样地颇费斟酌,因此,任何多余的笔墨对于戏剧创作和演出,都会成为赘疣。但是,在戏剧创作和演出中又时常会迂到一些似乎多余的闲笔,甚至是一系列纯粹生活动作的选择和表现,它们和戏剧的高度概括集中,有趣地组成了矛盾的辩证统一体。 A foreign sculptor has a famous saying: “What is carving? You pick up the ax, drastic, unwanted things cut it all.” Here is the carving creation must be highly concentrated, generalized, excluding all the vine Miscellaneous extras. In fact, all forms of artistic creation are all so. An older generation in the theater industry in China used the magnet to describe the concentration of drama creation: the original scattered things were absorbed by it and the things they needed gathered together, and those who did not need to fall into the drama. Dramatic creation is subject to strict time and space constraints on the afternoon stage, demanding a high degree of condensation, and sometimes in order to reduce the number of minutes of the drama, it is quite discretional that any extra ink and / or ink may be curtailed . However, in drama creation and performance, it often leads to seemingly superfluous pencils and even a series of choices and performances of purely living activities. They are highly concentrated in theater and play an interesting contradiction and dialectical unity.