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这一年的原创话剧也留下了一些值得探讨的作品。它们要么在主流戏剧、严肃戏剧的人文思考、美学呈现上进行着新的探索,要么在文本与剧场、传统与当下的关系表达中进行着独特的实验——前者如李宝群、王宏、肖力编剧的《从湘江到遵义》,李静编剧的《大先生》、胡薇编剧的《启功》;后者有沈诗奴编剧的《失忆症·蟒国》、张一弛编剧的《三昧》。《从湘江到遵义》创新重大革命历史题材话剧写作模式,以当代意识审视历史,以重铸信仰之魂为旨归,以叙述体的多元戏剧结构塑造长征人物群像,既展示了领袖群体寻找正确道路的艰难抉择、革命情怀,也烘托了红军将士逆境中的忠诚坚韧、英勇无畏。《大先生》没有正面写鲁迅的文学成就,而是通过其弥留之际梦一般的意识流,陌生化地展现鲁迅对自我、革命、历史的反思,此时的“鲁迅”不再是上世纪30年代的反封建斗士,而是穿上当代人的衣服,以一种间离的叙事方式,行走在历史与当下、自省与批判之间,成为冲出铁皮屋的思辨者、呐喊者。《启功》一改文人剧传统的写作思路,以小细节、小故事彰显启功先生的大情怀、大智慧,以叙事体、散文体的结构骨架传递诗化、质朴的审美意境、艺术追求,平淡、宁静、细腻的情节背后,既折射着启功先生宽容豁达的精神世界,也衬托出创作者敬畏人文传统、坚守尊师重道的责任与担当。《失忆症·蟒国》由寓言式的表达潜入历史的深处,以富有个体化、暗示性的语言展示世界的无限与混沌,在文本与身体的互动、具象与抽象的转换、空间叙事的多重叠加中,体现出新一代戏剧人对于文学性、剧场性的差异表达。《三昧》时间横跨80年,写了三个人与一个戏楼的爱恨纠葛,尽管故事“耳熟能详”,但是舞台呈现形式新颖,三个演员身兼讲述者与角色的双重身份,形似传统的说书表演,剧中的每一处细节都融入创作者的精心设计,每一个环节都体现着演员们准确而娴熟的把控,而埋伏在这些细节背后的恰恰是对人性善恶的犀利“捕捉”。
文学、经典改编背后的任性与规矩
原创的疲软低迷、文化消费需求的持续增长、纪念莎士比亚和汤显祖逝世400年系列活动的开展等多项因素的叠加,使得2016年的话剧舞台,“改编”再度成为年度关注的热词。这其中既有小说、诗歌、影视作品的舞台改编,也有莎士比亚、易卜生、契诃夫、汤显祖、丁西林等经典戏剧作品的改编、新解。
这一年,林兆华、李六乙、孟京辉等导演名家均有改编作品问世。其中,林兆华执导的三部作品,分别来自易卜生的《人民公敌》(北京人艺)、迪特里希·施万尼茨的《戈多医生或者六个人寻找第十八只骆驼》(北京九乐映画文化传媒有限公司)和莎士比亚的《仲夏夜之梦》(丰硕果实林兆华戏剧创作中心)。从演出效果看,三部作品都算不上太“忠实”,而是夹带着导演的“私货”,虽立意、诉求各异,但表演上皆为即兴的、排练场式的间离,“不像戏的戏”、演员自由跳进跳出的表演理念贯穿始终。李六乙改编自同名电影的《小城之春》(李六乙戏剧工作室),有一种沉闷、压抑的感受。大段的静止和沉默、缓慢的叙事节奏、符号化的人物形象、高度抽象的时空设置……这些彰显李六乙导演个人风格的特色依旧构成作品的主调,它创造了当代话剧舞台少有的景致,细腻而有序、新奇又陌生,挑战了僵化的演出形式。从以上改编实践不难看出,国内成名导演对待经典的态度更倾向于利用文本为己服务,经典自身表达的东西不重要,重要的是我怎么表达、我要表达什么;反映在演出形式上,风格化成为他们的主要追求,形式化成为其主要手段。艺术创作离不开偏执,但是偏执不是任性,对待经典文本,脱离了经典赖以流传的思想蕴涵和精神基因,经典就成了时尚文化的走秀。
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