在舞台上呼唤文学,呼唤诗,是近年在完全剧场、形体剧场、编作剧场蓬勃的态势下出现的另一个声。在剧场里写诗,方法当然不少,而香港舞台在上世纪90年代以来出现了一股“独脚戏”风,不同的剧团与剧人先后推出由一位演员担纲的作品。就其荦荦大者,就有丁羽的《也许是幸福的人》(1993)、陈曙曦的《床底旧事》(1995)、李惐基(Veronica Needa)的《真面目》(1998)、邓树荣的《解剖二千年》(1999)、詹瑞文的《大食骚》(2000)、李镇洲的《狭缝》(2002),以及由杜国威编剧、李枫演出的《邓碧云》(2002),罗静雯编剧、彭秀慧演出的《夏日之火:镜花水月》(2002)等。这 Calling for literature and calling for poetry on the stage is another sound that has emerged in recent years in the thriving theater theater, physical theater and theater. There are certainly many ways to write poems in the theater. The Hong Kong stage has seen a wave of “one-man show” since the 90s of last century. Different theatrical troupes and dramatists have successively released works by an actor. Among the big ones, there are Ding Yu’s “Maybe Happy People” (1993), Chen Shuxian’s “The Bedtime Story” (1995), Veronica Needa’s True Story (1998), and Deng Shurong’s “ Zha Rui Wen’s Daxu Sao (2000) and Li Zhen Chau’s ”The Slit“ (2002), as well as the dramas by Du Guowei and Li Feng (2002), Luo Jingwen, Peng Xiuhui’s ”Summer Fire: The Mirror and the Moon" (2002) and so on. This