孟京辉版《茶馆》:身体漩涡与“齿咬”焦灼

Meng Jinghui’s Tea House:The Vortex of the Body and the Anxiety of“Soul-biting”

孟京辉版《茶馆》在看似杂乱无章的拼贴技法背后,有着一以贯之的阐释秘钥——“齿咬”焦灼。在此精神性痛感中,剧中人物见证了价值体系的倒转倾覆,却在无意中以浪漫之名参与暴力的共谋。最终,仅存的革命幻梦亦被现实所捣毁。凡此种种锥心刺骨、无可奈何的精神自戕,在舞台上转换为挣扎的身体经验,表面上悖谬乖张的情节经由“齿咬”焦灼得到了融贯性的解释。在此意义上,孟版《茶馆》与老舍原作分享了相似的生存创痛,《茶馆》在当代实现了经典化所亟须的自我更新。

Behind the seemingly messy collage techniques in Meng Jinghui's Tea House lies a consistent interpretative key-the anxiety of“soul-biting”.Bearing this spiritual pain,the characters in the play witness the overturning of the value system,and inadvertently participate in violent complicity in the name of romance;in the end,the only remaining revolutionary fantasy is destroyed by reality.All these piercing and helpless mental suicides are transformed into physical experiences of struggle on the stage,and the seemingly paradoxical plots are coherently explained through the anxiety of“soul-biting”.In this sense,Meng's Tea House shares a similar survival trauma with Lao She's original play which has also achieved its self-renewal urgently needed for canonization in contemporary times.