时隔近一年,忽然有了一种冲动,要谈一谈曾学文的小剧场话剧《日子》。原因很简单,一是这个剧作至今还“戏魂不散”,圈内圈外人仍常有议论;二是因为曾学文这个与老知青“隔代”的人居然象婚童一样,托起老知青们拖曳在地上那端长长的脏脏的历史裙波,要来为我们叙述一个关于老知青的后传。 坦率地说,在应邀观摩《日子》的彩排时,我是被感动了。这种感动并非来自于跟随剧情递进和深化的欣赏过程,而是戏一开场就被抓住了。这台戏从灯光、音响、舞美设计以及演具的表演、导演的调度都相当出色,使人一下子置身于一种强烈现代感的时空之中。做为一种裁体,整个表演体系超越、提升并且 After a lapse of nearly a year, suddenly there is an impulse to talk about the small theater play Zeng Xuewen “days.” The reason is very simple. First, the play is still “playful”, outsiders inside the circle is still often talked about; the second is because Zeng Xuewen and the older educated youth “from generation to generation,” actually like a childlike child, hold up the old The educated youth are dragging the long dirty history of the skirts on the ground to come and tell us an afterclass about the old educated youth. To be frank, I was touched when invited to watch the rehearsal of “days.” This move does not come from the story to follow the process of appreciation and deepening appreciation, but the opening of the play was captured. This show from lighting, sound, design and performance dance performances, director of the dispatch are very good, people suddenly placed in a strong sense of modern time and space. As a kind of layoff, the entire performance system goes beyond, to enhance and