张爱玲和电影的渊源众所皆知,她与戏剧——尤其是传统戏剧——的关系其实一样耐人寻味。在绍兴戏《华丽缘》伧俗的舞台上,她看出男女相悦的素朴真情;乱世的《倾城之恋》,不过像是胡琴的几个过门,拉来拉去又回到了人间原本的调门。而在文明陷落后,只有蹦蹦戏花旦凄厉高亢的声腔,依然回荡在宇宙洪荒之间。“生活的戏剧化是不健康的”(《童言无忌》),张爱玲曾写道,但她却深知人生不外戏剧,而且自己也乐在其中。 The origins of Eileen Chang and the film are well known, and she is as intriguing as drama, especially traditional drama. In Shaoxing opera “gorgeous edge” vulgar stage, she saw the innocent innocence of man and woman; chaotic “Allure Love”, but like a few of the door to Huqin, Lailala went back to the original Adjust the door. In the fall of civilization, only the bouncing opera pompous voices, still echoed in the universe between the prehistoric. “The dramatic drama of life is unhealthy” (“Childhood Prodigalism”), which Eileen Chang once wrote, but she knows that life is nothing more than drama, and that she is very happy with it.