摘要
本文写了三出戏,各有各的方式,各有各出现在当下的意义。在上海小剧场似乎被白领话剧大一统的时候。
From the HardHan Cafe Theatre launched by Wang Jingguo in 1998 to the later Down Stream Garage,play troupes in Shanghai have been brisk all at once.In order to celebrate the getting of the license of“Down Stream Garage Original Club”,Wang hosted a“hyperdrama”party named“Anti/Gone”.This was an activity between the drama and the party,and there was also no separation of the auditorium from the stage.Dozens of actors from“Uncertainty Theatre”were standing in the inner site,reading the lines of a Greek tragedy Antigone around the audience.Zhang Xian,the organizer of this activity was reading his script The Raped A-N-T-I with his big and distorted face projected in a corner.The Antigone Dance performed by Xiao Ke and Nan Nan was put on next,which led the whole party into full swing. Another folk theatre in Shanghai is located in Yang Pu District,which is totally different from Down Stream Garage in terms of its pattern.It is a post-modern building with luxury-inflated chairs costing tens of million yuan.Tongue's Memory of Home was the debut by“Niao”—the post-modern dancing team in Shanghai. There was no complete plot in the show,however,by some details,we could feel what they wanted to tell,though the details were also some broken lines: collective consciousness,collective unconsciousness,time,discovery,and fear. At that moment,we began to be aware of the lack of the language and the real existence of the body.After that,Hi-Theatre presented the Black Hole(?)qEnd planned by Zhao Chuan and directed by Wang Molin.Our normal bodies,as well as the bodies of the mentally-retarded,and the bodies of the blind were shown in the drama.Unlike the show in some theatres,they attached importance to the real feeling and the expression on the stage by the real people,rather than the pure role playing.
出处
《大美术》
2006年第3期58-63,155,共7页
