演出在歧义中展开--《培尔·金特》遭遇北京舞台的1980年代

Peer Gynt on the 1980s' Beijing Stage

1980年代,历经磨难的中国知识分子以极大的热情投入到新时期的思想解放运动中,戏剧舞台冲破"第四堵墙"的呼声一浪高过一浪。在易卜生社会问题剧模式被普遍质疑的历史关口,《培尔.金特》在北京的演出则抬举出了另一个易卜生。《培尔·金特》的演出契合了1980年代文化启蒙、张扬个性的时代主题,这部清算个人主义的狂想曲在演出中被赋予人性、异化和人道主义等种种不同深意。《培尔.金特》在中国舞台上的诠释出现在1980年代初知识分子情绪高涨的头几年,它不仅投射出中国接受者的见识、创作个性和人生经历,更是难脱那个时代的鲜明印记。

In the eighties of the last century, when Chinese intelligentsia overcame late traumatic experience to take an active part in the ＂liberalization＂ movement, urgent calls were made among the theatre circle to break free of the restrictions of the fourth wall. It was a time when the mode of Ibsenite problem plays was called into question. The arrival on Beijing stage of Peer Gynt presented a hitherto unknown aspect of the Norwegian master. It struck a chord of sympathy with the Weltanschauung of cultural enlightenment and selfassertion. This fantastic reckoning with self-interested individualism was impregnated with such various meanings as humanism, anti-alienation, and humanitarianism. These interpretations speak eloquently of the visions, creative tendencies, and life experiences of its Chinese recipients and bear erasable imprints of the time.