人生如戏 戏如人生

人生如戏 戏如人生 ——评田沁鑫话剧《狂飙》 Life Is Like Play and Play Is Like Life ---- On Tian Qinxin's Drama "Hurricane" 话剧《狂飙》向观众展现了国歌作者、剧作家田汉的一生，其与众不同之处 在于:作为人物传记，它以表现主义的手法着眼于田汉的内心世界，而非外在功 绩;作为舞台剧，它又向影视艺术靠拢，以别出心裁的舞台调度实现了有限的空 更多的创造性。 间里 Drama "Hurricane" shows to the audience the whole life of Tian Han, the author of the national anthem and a great playwright. Its unique features lie in this fact:As biography，it uses the expressionist technique to depict Tian Han's inner world，rather than its apparent deeds;As the living theatre，it approaches movie and TV art, using unique mise en scene to realize more creativity in a limited space. 《狂飙》在剧作上有着独到的切入点。编剧田沁鑫并不依托于某个重要事件 来展开田汉的客观生平，而是用他现实生活中几个重要女人(母亲、日本女演员 和四任妻子)与几部重要作品(《乡愁》、《莎乐美(中译)》、《一致》、《关汉卿》) 的戏中戏相互穿插，展现了田汉丰富的内心世界。 In art creation, "Hurricane" has its original cut-in points. Scriptwriter Tian Qinxin does not rely on important events to unfold Tian Han's life, but uses several important females in his real life (his mother, the Japanese actress and his four wives) and the episodes of some major works of his ( "Nostalgia", "Salome” (Chinese translation), "Accord", and "Guan Hanqing") to display Tian Han's rich inner world. 如此编剧有其内在的合理性。田汉是一位浪漫多情的诗人，他毕生追求能够 在思想上达到沟通和启发的伴侣，因此他与每位女性的情感交往，都反映了他那 一时期情感与思想的碰撞。反之，这几位女性也影响了田汉在特定时期的社会认 知，并反映在其特定时期的文字、作品中，甚至成为其人物原型。因而，《狂飙》 中扮演其生母、妻子等女性角色的演员，在相应时期的戏中戏里扮演相应的角色， 利用演员的相同来凸显真实人物与剧中人物相互参照、映射的关系。 Such an arrangement has its intrinsic reasonableness. As a romantic and amorous poet，for all his lifetime, Tian Han tried to find a companion who could reach mutual communication and enlightenment with him, hence, his emotional intercourse with each female reflected his collision between emotion and thought in that stage of his life. On the other hand，these females also influenced Tian Han's social cognition in the specific period, and they were reflected in his writings and works in that specific period, and even became the prototypes of the figures in his works. Thus，the actress playing the parts of his mother and wives plays her corresponding role in the corresponding period in the drama, thus, by utilizing the sameness of the actress, the drama highlights the mutual reference and mutual mapping relationship between the real persons and the characters in the play. 这几位女性，与其说是剧中角色，不如说是一种意象。母亲这一人物具有起 源和归宿的意味，将生命的起源与归宿同戏剧生涯的起源与归宿联系起来，把具 有相同寓意的人物和事件联系起来，产生了震撼人心的力量。第三任妻子的出现 和《莎乐美》的连结，让诗人的苦恼彷徨和莎乐美的炽烈激情交错进行，强有力 地传达了田汉这一时期内心的苦闷与思想的疾速发展。 These women serve as a kind of imago in the drama，rather than parts in the play. The figure of mother has the implications of both origin and end-result, thus, by linking the origin and result of life to the origin and result of the theatrical career, we have connected the people and events of the same implied meaning together, producing a shocking power. The connection of the appearance of his third wife with "Salome" caused an interlacing of the poet's anguish and oscillation with Salome's flaming passion, which has expressed forcefully Tian Han's anguish in his heart and his fast development of though in this period. 好的传记题材的影视和戏剧须兼顾历史价值与艺术价值。以往人物题材的中 国影视、戏剧基本秉承现实主义的手法和套路，其优劣只在于生动与否。《狂飙》 的场面调度是表现主义的，现实时空和戏中戏时空交替出现，剧中的转场，不是 依据时间、空间顺序为逻辑，而是依据情感、情境的相似性，再现了人物精神层 面的对话。虽然初看令人费解，但当这一幕结束，“记忆的碎片”得以完整组合， 观众也会恍然大悟。比起按部就班地再现，以情感为连结的重新组合，不仅交代 了必要的信息而且造成了陌生化的效果，同时感性地重现了回忆的心理过程—— 当回忆生命中珍藏于心灵深处的往事或某个人，最先映入脑海的，一定是其最具 代表性的瞬间，进而通过支离破碎的记忆重组还原完整的前因后果。因此，这种 手法对于观众的作用在理智与情感上都是巨大的。 A good movie or drama in the biography subject matter should consider both historical value and artistic value. Chinese movies and TV or theatricals in the subject matter of biography used to follow the realistic technique and routine，and their quality just depended on the degree of vividness. Yet, in "Hurricane", the scene arrangement is in the expressionist style，that is, the real space time and the space time of the drama appear alternatively, the change of the drama scenes is not in the natural logic of the order of time and space, but depends on the similarity of the feelings and situations, reproducing the dialogue in the spiritual level of the dramatis personaes. Although it is hard to understand at first, yet, when one act ends, the "memorial fragments" can be combined together completely, so, the audience will realize the true fact suddenly, too. In comparison with the step-by-step natural reproduction approach, this association centering around the feelings has not only given the necessary information, but also produced an effect of making things look strange; meanwhile, it has represented the psychological process of recalling in a perceptual way. When we recall some past event treasured in the depths of our mind, what appears first in our mind must be the most representative moment, and then, by recombining the fragmental memories, we can reconstruct the natural order of the event. Therefore， such a technique can produce a great effect on both rational and emotional aspects of the audience. 田沁鑫惯用意识流手法进行舞台调度，这就意味着需要频繁转场，就像是电 影一样。但是，与电影蒙太奇不同，戏剧转场需要时间。戏剧创作的挑战与魅力， 就在于在受限制的空间里加入更多难度的需求，并以最简洁巧妙的方式来实现最 丰富的内容。田沁鑫的道具很简约，经常是一桌一椅一屏风，如同中国传统戏曲 的布置，而调度上却充满变化。此外，她的剧作本身就具有极大的写意性，因此 扬弃了过多的实体道具，往往在一场内仅通过演员台词与表演的变化就实现了多 次转场，而且非常流畅。 Tian Qinxin likes to use the technique of stream of consciousness in his mise en scene，and that means frequent change of acts, just like the case in a film. Yet，unlike the montage in a film, the change of acts in a drama needs time. The challenge and charm in the drama writing just lies in the fact that we have to add more difficult wants and needs in the limited space，and we must use the most concise and smart method to show the richest contents. Tian Qinxin's props are very simple, usually just a table, a chair and a screen，just like the arrangement in the traditional opera of China, but the arrangement is full of change. Moreover，her drama scripts themselves are characterized by a great liberal style. Thus, many substantial props have been omitted，and the change of many acts can be realized just by the change of the actor's dialog and his performance manner in one scene, and the transition is very smooth. 以第一幕田汉与第一任妻子的故事为例: Let's take the story of Tian Han and his first wife in First Act for example: 现实中，田汉始终背对着渝，二人虽在对话，却从无眼神的交流，保持着时 空上的隔阂。渝始终站在磨砂玻璃后面，从始至终都像是田汉脑海中的幻影。这 一形式，给人以凄凉、孤寂之感，仿佛在梦中回到了从前，与失去的人重逢，若 即若离。 In the real world, Tian Han always uses his back to confront Yu, although the two are talking with each other, they have no exchange of eye expression, keeping a gap in space and time. Yu is always standing behind the ground glass, looking like an illusion in Tian Han's brain all the time. Such an arrangement gives us a sense of desolation and loneness, as if we have returned to the past in our dream, meeting our lost companion again, but always keeping the person at an arm's length. 戏中戏《乡愁》则不同。两位演员不仅正常交流，且刻意模仿20世纪初电 影演员的口音，造成一种轻松、滑稽的效果。《乡愁》是田汉以早年留学日本生 活为素材创作的自传式小说，以自己和第一任妻子渝为主人公原型。戏中戏结尾， 当观众还沉浸在轻松气氛中，女演员突然转身慢慢回到屏风后面，音乐响起，男 演员也恢复了现实中凄凉的状态，轻松的往事荡然无存。 But the play-in-play of "Nostalgia" is different. The two actors not only have normal exchange with each other，but also imitate the accent of the film actors of the beginning of the 20th century intentionally, which leads to a light and comical effect. "Nostalgia" is an autobiographic story written by Tian Han using his experience of studying in Japan in his early years, taking himself and his first wife Yu as the prototypes of the protagonists. The play-in-play ending: when the audience are still immersed in a light atmosphere，the actress returns suddenly to the back of the screen slowly, the music begins, and the actor also returns to his desolate state in reality, making the easy and light past life vanish into nothingness at once. 通过现实、戏中戏、现实三段的连结，让观众了解了田汉第一任妻子这一幕 与之青梅竹马，陪他东渡日本，病逝的身世;同时，田汉的初恋与戏剧生涯的起 步形成一种相互呼应的、富于诗意的诠释。 By the linking of the three segments of reality, play-in-play and reality, this act shows to the audience Tian Han's story about his calf love with his first wife, his wife accompanying him to Japan, and her death there;Meanwhile，Tian Han's first love and his start of playwright career constitute a mutual echoing development full of poetic meaning. 田沁鑫最为人称道的就是她细腻、诗意盎然的语言。她极少长篇大论，人物 的对话多是以极简短，像诗句一样的话语组成，细腻、雅致，又带有极强的民族 特色。说话的方式会让观众陌生又喜爱，那是因为表达的方式是诗化的，说出的 是人们想说的。 Tian Qinxin's strongest point is her delicate and poetic language. She seldom uses long statements, and her dramatis personaes' dialogue is mostly composed of very short and poetic sayings, sounding very delicate and elegant，with a strong national feature. The way of utterance is both strange and lovable to the audience, because the mode of expression is poetic, and the contents are just what the people want to say. 与同时代的戏剧导演相比，田沁鑫的剧作具备极强的文学性，这就是为什么 她经常改编名著，因为她不仅能够做到浓缩文学内容，而且能够准确提取原著中 的精华并融入到话剧中去，使文学在不同艺术形式间平移。有时话剧的结构、情 节较之原著已经有了极大颠覆，但文学的意境、人物的魅力和思想的厚度却又得 到了极好的保留;而《狂飙》更是以节选的方式，使田汉的多部作品视觉化，并 呈现了诗的意境。 In comparison with the other contemporary drama directors, Tian Qinxin's works show a very strong literary feature, and that is why she often adapts masterpieces into dramas. She is not only able to condense literary contents，but also able to extract the pith of the original work and melt it into her drama, making the literature move between different forms. Sometimes, the drama structure and scenario have overturned the original work greatly, but the literary conception, the characters' charm and the thickness of the thought are kept very well;As we see, "Hurricane" uses the mode of selected excerption to visualize many works of Tian Han, and shows a poetical artistic conception. 田沁鑫的话剧给人以诗化的浪漫主义格调，或许还因为它充斥着对命运的敬 畏。从一开始，她的人物就笼罩在一种宿命的气氛之中。总让人觉得，人生重大 的转折皆出自偶然，而站在生命的终点回顾一生，无奈于命运的安排，也庆幸命 运的安排。 Another reason why Tian Qinxin's drama shows a poetic romanticism style may be that it is full of the awe for the fate. From the very beginning，her dramatis personaes are involved in a fated atmosphere. It always lets us feel that all great turns in life are out of contingency, but when we review all our lifetime at the final point of life, we will feel helpless about the arrangement of the fate, but also feel happy about the arrangement at the same time. 全剧，田汉有一句台词重复了三次，这也是我最喜欢的一段台词: In the whole drama, Tian Han repeats one sentence three times, and that is also the saying I like most: 小时候我身体不大好～娘说孩子不好养～就送我去做了和尚。九岁那年～我 去表妹家玩～看见她那双大眼睛晶亮亮忽闪忽闪的～我就一步跨进了红尘。 “When I was small, I was in a poor health, and mom said this child would not live easily, so she sent me to the temple to let me become a monk. At the age of nine, I went to my cousin's home to play; as soon as I saw her charming bright eyes, I stepped into the earthly world immediately.” 偶然堕入了俗世的情感，在人生的旅途上便要遭遇许许多多的精彩与磨难 了。这种宿命的观点，也恰恰吻合了人生如戏戏如人生的哲理，给予剧作家的生 平一种诗意的升华。在我看来，《狂飙》虽不是田沁鑫最成功的作品，却是她成 功作品中最新颖、最动情的一部。 Contingency pulled him into the earthly feelings，and so, from then on, he would taste many joys and sufferings. Such a fatalistic viewpoint happens to tally with the philosophy of "Life is like play and play is like life", giving a poetic sublimation to the playwright's lifetime. In my opinion, although "Hurricane" is not the most successful work of Tian Qinxin, it is the most novel and most moving one in her successful works.