广陵集 2020 Diligent Studies in Guangling 2020 第 06 篇 Section 06
五月 从《荆轲刺秦王》中论戏剧演好的三个要素 ——戏剧活动观后感 May: On the Three Elements of Performing Drama Well from Jing Ke's Assassination of the King of Qin—Reflections on a Drama Activity
返回 广陵集 2020 Back to Diligent Studies in Guangling 2020戏剧对高中生而言，是又难又易的一种体裁。难处在于，对于此体裁了解甚少的我们，一时难以把握住戏剧的特征而陷入尴尬的表演。但事实上我们从小到大就一直在戏中生活。“戏如人生”，对于我们而言，演好一出戏不过是演好他人的一段人生。今日这出《荆轲刺秦王》便当之无愧为我辈之翘楚。
Drama, to high school students, is a genre both daunting and accessible. The difficulty lies in our scant acquaintance with the form, making it hard to grasp dramatic essence and easily plunging performances into awkwardness. Yet in truth, we have lived inside drama from childhood onward. “Drama is like life”; for us, performing a fine play is nothing other than performing a chapter of someone else’s existence. Today’s performance of Jing Ke’s Assassination of the King of Qin is unquestionably the crown jewel among our peers.
首先肉眼可见的是，剧组在有限的时间内对环境的精美布置。故事的年代至今已有二千余年，如何把观众带回充满历史感的气氛之中，荆轲组给了我们惊喜。在燕太子的深殿之中，几位严肃的侍臣，一位一袭黑衣的男子，瞬间就吸引了我们的内心。而LYJ饰演的柱子，显示出剧组对现实解构主义的深邃领会；有着CTQ头颅的足球，在荒诞中流露对人生的哲理。“重要的不是永恒的生命，而是永恒的动力。”剧组践行了尼采的这番话，把战国风云带到了我们面前。
First, plain to see was the cast’s exquisite staging of the environment within tight constraints. More than two thousand years have elapsed since the historical event; how to transport the audience back into an atmosphere rich with history was a challenge where the Jing Ke troupe delivered a stunning surprise. Inside the cavernous hall of the Crown Prince of Yan, several solemn retainers and a lone figure clad in black seized our attention in an instant. LYJ’s portrayal of a structural pillar displayed the troupe’s subtle grasp of deconstructivism; the soccer ball bearing CTQ’s head voiced a philosophy of existence through absurdity. “What matters is not eternal life, but eternal vitality.” The cast put Nietzsche’s dictum into practice, conjuring the storms of the Warring States right before our eyes.
在气氛的烘托下，人物的形象愈发饱满。无论是WLY的燕太子还是WJY的秦王无不都在沉郁中流露出王者的气度。观《雷雨》的周朴园，在简短的语言带着封建大家长的威严。显然，两位在近日的学习中，深刻体会到莎士比亚所言“戏剧是人类感情投射”，给我们带来了精彩的表演。
Bolstered by the atmosphere, characterizations grew ever more vivid. Both WLY’s Crown Prince of Yan and WJY’s King of Qin radiated the gravitas of royalty amidst brooding tension. Like Zhou Puyuan in Thunderstorm, whose terse dialogue carried the stern authority of a feudal patriarch, both actors, through recent study, deeply assimilated Shakespeare’s insight that “drama is the projection of human emotion,” delivering truly riveting performances.
《荆轲刺秦王》中小人物的刻画也入木三分。DJY出演的差使，在第二幕始连续”报”了三次，用欲扬先抑的手法，将荆轲入咸阳宫的艰难作侧面描写，渲染出其刺杀秦王时的紧张的气氛。观众不但笑不出来，而是已知刺杀的失败而在心中油然而生悲凉之情。
The depiction of minor figures in Jing Ke’s Assassination of the King of Qin was equally penetrating. The courier played by DJY cried “Report!” thrice in succession at the start of Act II; employing the technique of subduing before elevating, he sketched from the sidelines the perils of Jing Ke entering Xianyang Palace, heightening the palpable tension of the assassination attempt. Far from laughing, the audience felt a deep desolation welling up within, knowing in advance that the assassination was doomed to fail.
而在情节方面，GLZ饰演的荆轲给我们了绝对惊喜的表演。萨特言：“人是无用的激情。”在这个剧中，荆轲实则被张仪收买，作为刺杀燕王的使者，但观众却蒙在鼓里。甚至当荆轲刺杀成功后，我们会对此十分错愕，只有当荆轲高喊“燕王已死”后，我们才叹于其百转千回的套路。改编不是乱编，荆轲组用他们的才智给这个往事赋予新的生命，高潮正在于此。
On the plot front, GLZ’s Jing Ke delivered an astonishing performance. Jean-Paul Sartre observed: “Man is a useless passion.” In this adaptation, Jing Ke was in fact bought off by Zhang Yi to serve as an assassin targeting the King of Yan, while the audience was kept entirely in the dark. Even when the assassination succeeded, we were gripped by astonishment; only when Jing Ke shouted “The King of Yan is dead!” did we marvel at the ingenious narrative twist. Adapting is not fabricating blindly; the Jing Ke troupe used their intellect to breathe fresh vitality into this ancient tale, and herein lay the climax.
当最后秦始皇无情地终结荆轲的生命后，我们只能长叹一声：“曲终人散皆是梦，繁华落尽一场空。”品达写道：“不求永生，竭尽人事。”这句话后来成为加缪《西西弗神话》的题词。荆轲虽死，但千古永存。他的人生是成功的，这大概也是剧组各位想告诉我们的。
When the First Emperor of Qin ruthlessly ended Jing Ke’s life in the finale, we could only heave a long sigh: “When the tune ends and the crowd disperses, all is a dream; when splendor withers away, everything turns to emptiness!” Pindar wrote: “Do not aspire to immortal life, but exhaust the limits of the possible.” This line later became the epigraph of Camus’s The Myth of Sisyphus. Though Jing Ke fell, he endures through eternity. His life was a triumph, and that, perhaps, was what the cast wished to convey to us.
加缪言：“判断人生值不值得活，等于回答人生的全部问题。”真正优秀的戏剧作品，便是能在前三者的铺垫下达到人文主义的高度。在这一高度下，此部《荆轲刺秦王》必将永垂不朽！而我，很荣幸成为历史的见证者！
Camus wrote: “Judging whether life is worth living amounts to answering all the questions of life.” Truly exceptional dramatic works reach the zenith of humanism atop the foundation laid by the prior three elements. At such a height, this production of Jing Ke’s Assassination of the King of Qin will surely remain unforgettable! And I was honored to be a witness to history!
再次感谢为我们带来这部剧的全体演员！
Once more, thank you to the entire cast and crew who brought us this performance!