三个编剧，用“组词游戏”的方法得出了剧名，然后各显所长，写出了三个风格迥异的剧本；最终，导演用拼贴的方式， 得出了另一个戏，它的名字也叫做“地下室的男人，绿裙子走了”。这个戏就像是一个可以不断分裂自己的细胞， “整体”与 “部分”都是它自己。一个愤世嫉俗到极点的少年、一个被未婚妻抛弃却又逃避现实的男人、 两个被神秘力量关在地下室里的 无聊男人，这是一出游戏的戏剧，也是一出男人的戏剧，它所关心的焦点带有鲜明的男性特征。然而，在全剧的三个段落之间， 舞台上出现的却是两个载歌载舞的曼妙女郎，她们就是消失了的“绿裙子”吗？她们是某种隐喻吗？ 这个疑问等待着观众的思考。
　　全剧中最具实验色彩的是第一个段落，它颠覆了传统戏剧的定式，也向观众固有的观剧期待发起进攻。在这个段落中， 观 众可能看不到他们想要看的东西，但极有可能听到他们想要听的东西。现场演奏的吉他、大量录制精良的音效……在新颖的剧场氛围里，戏剧评论家可以联想到许多前卫戏剧领域的词汇：彼得·汉特克、Total Theatre、“说话剧”…… 第二个段落继承了 荒诞派戏剧的某些传统，但更加开放、多解。“人总是莫名其妙地陷入某种困境之中”，这句存在主义者的名言又一次得到了诠 释。两个被困的男人无法求得解脱，麻木之余还存有一丝隐隐的希望。于是，人类永恒的主题“等待、希望、失望”再次上演了。 最后一个段落是一个男人和他自己的戏。剧本写的是一个被未婚妻抛弃的男人，但没有陷入滥情的泥淖，情感极为节制，哀而不伤，男人内心的痛苦和身上笔挺的西装形成了某种颇有意味的冲突。

by Gaelle Le Gall-Nicolas

the young and the restless

Shanghai's only experimental theater

Shanghai's experimental theater scene might best be described as young, tough, daring, and hard to find. Consisting, in the main, of a colourful crowd of dreamers, musicians, students and drop-outs from Shanghai Theatre Academy, this ragtag band of thespians has taken refuge in one of the city's darkest corners. The Downstream Garage sits on the third floor of an old factory building on Longcao Lu in a remote corner of Xujiahui. It's a challenge to find, but the Garage provides an opportunity for small theater groups who can't afford mainstream performance space.

Here, professionals and amateurs mingle for the duration of a play. These fleeting encounters have produced several groundbreaking works, including a recent staging of The Man in the Basement, Green Skirt Has Gone by Ren Ming Young(任明炀). This oddly-titled, three-act play satirizes the existentialist plays of Sartre and Beckett, and blends influences from Beijing Opera with experimental guitar compositions.

As mentioned above, students from the Shanghai Theatre Academy make up the bulk of the players, but their youth and inexperience hasn't won any sympathy from the hyper-critical audience. Largely made up of theater insiders, some actors receive loud and often rude comments on their performance in mid-act. And, of course, some audience members simply let their feet do the talking.

Fortunately, most of the actors have a thick skin. Says Song Song (宋松): "The problem in China is that people expect everything in a play to make sense. They don't accept the fact that the play could have its own reason to be and they reproach us for [our approach]: ars gratia artis."

转自：http://www.thatsmags.com （《That's Shanghai》杂志2006年1月号）