恣意挥洒的韵味台词、单调简陋的布景与用光、恍惚游离的人物关系,还有对弥漫于舞台上的躁动情绪与不安因素略有节奏的控制,当代中国戏剧的先锋实验就这样在音乐与戏剧的理性递进中,在马雅可夫斯基式的世俗与梅耶荷德式的诗意中,在斯坦尼斯拉夫斯基自然主义的呈现与布莱希特理智化的间离中,魔幻般地制造着属于自己的先锋戏剧风景。故作深沉的后现代主义语言、夸饰性的无厘头结构,以及与“小资”、“愤青”等激进的当代文化词语有关的内容,都成为它显山露水的艺术标示。 也许是急于表达的冲动太过强烈,也许是因为还很年轻,实验的属性给了先锋戏剧极端自由的填充空间,也使它背负了太多的期望与理想。如今,遭遇视觉文化冲击与商业化 Smell the scent of arbitrary swaying, monotonous and crude scenery and the use of light, the trance of the relationship between the characters, as well as on the stage filled with agitation and anxiety factors slightly rhythm control, contemporary Chinese drama pioneer experiment so in music and In the progressive progress of the drama, in the Mayakovsky-style secular and Meyhid-type poetics, in the separation of Stanislavski’s naturalism and Brecht’s intellectualization, the magical Like to create their own avant-garde drama scenery. The profound postmodernist language, the nonsense structure of exaggeration and the content related to the radical contemporary cultural words such as “petty bourgeoisie” and “angry youth” have all become the symbol of its dew. Perhaps the impulsive urge to express is too strong, perhaps because it is still young. The experimental nature of the avant-garde drama has given it an extremely free space to fill. It also carries too many expectations and ideals. Today, the impact of visual culture and commercialization