局限性与生长性——评人艺新话剧《生·活》

Limitation and Growth——The Comment on Drama"Life"

地震的公共性限制了话剧《生·活》展开的向度和深度,在很多因素都被预设的前提下,它注定是"带着镣铐跳舞"。不过,由于很多细节的绽放使其充盈出许多生长的缝隙,才没有变成一次灾难的注脚。但这恰好呈现出一个民族在灾难面前的艺术选择,选择的内容映射出一个时代的精神底蕴和一个民族对于艺术理解的程度。从这个意义上来说,它完成了"双重见证"。

The public nature of the earthquake limits the dimensions and depth of the drama “Life”. A lot of factors have been in default under the premise that it is bound to be “shackled to dance.” However, since many of the blooming details make many cracks in order to avoid becoming a footnote to the disaster. But just to show a national.ehoice of the arts in face of the disaster and the selected contents show a sprat of the tmaes and the nation＇s understanding to the extent o the arts. In this sense, it completes a “double witness.”