陆帕那一把打开创作迷宫的钥匙

文张向阳

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克里斯蒂安·陆帕与格洛托夫斯基、康托并称20世纪波兰戏剧的三大巨人，曾获奥地利十字功勋奖章、法国文化部艺术及文学骑士勋章、欧洲剧场大奖等荣誉，陆帕的《伐木》和《英雄广场》曾作为林兆华戏剧邀请展重磅剧目在天津和北京上演，创造了观众“刷夜”看戏的新纪录。随着天津林兆华戏剧邀请展的结束，陆帕执导的《酗酒者莫非》渐成口耳相传的“神迹”。多亏北京演出公司第二届老舍戏剧节的邀约，为北京补偿了这一遗珠之憾。《酗酒者莫非》的真容显露毫无悬念地引发了“高知层”的钟情“二刷”。

驱动文化传媒出品的话剧《酗酒者莫非》改编自史铁生作品《关于一部以电影作舞台背景的戏剧之设想》，偶发天成地契合了波兰导演陆帕的美学思想、创作理念以及和中国舞台精神的融合，创造出了影像和心理时空的奇妙结合，体现了当代剧场对戏剧文学本体的尊崇和回归。回溯2017年他在天津大剧院时光雕刻般的排练历程，一次次令人叹服这位文化精英在心理学领域的卓越功力。

令灵魂得到猛烈锤击的排练

陆帕带来的是欧洲导演的排戏方式：没有剧本，看了4万多字小说原著和作家生平纪录片，他还要求翻译把史铁生的《宿命》《合欢树》都翻译成波文阅读；没有精确排练进度表，每天通过翻译和演员面对面讨论角色，要拿出自己的人生感悟填充角色；演出迫在眉睫了，但陆帕淡定地引领着演员们在哲学、心理学、艺术史论里穿行……“把酗酒者、杨花、母亲这些角色的所有设想都放进行李箱里，然后就去旅行吧。”陆帕说。

排练陆帕的戏很难，他的意念很强大很固执，演员会消耗很多精力，这也正是演员们放弃了片酬优厚的影视机会想要的与众不同。《酗酒者莫非》半年多的排练周期，出乎意料地漫长，场上安静得如同手术室。全体演职人员都从这种严格到苛刻的纪律约束中感觉到创作的神圣，也感觉到陆帕对演员的极大尊重和信任。他从来不催促、不打断演员，而是给演员们近乎奢侈的时间和自由，而演员们能够忘我地沉浸于深度意识的追寻探访，丝毫不必担心导演的强权干涉，反而能感知到一种心灵力量的呼应交融和光亮启迪。

第一次被允许进入排练场，我看到的场景是莫非的扮演者王学兵从屋外疑惑地进到屋里倒在床上，从异形的控制中挣脱蜕化出来，丰富的感知层层剥茧，稀释着时间的绵延流动，浑然失去了现实的时间感。沉睡的杨花坐起来安慰喝醉了的莫非，莫非浑身大汗，终于回到现实中。后来王学兵总结说：“我在演戏的时候只是演了最关键的事件——光是起床这件事——听上去很有诗意，但实际上非常准确。作为一个戏的开场，让观众慢慢进入到莫非的生活中去。这一场戏其实只有一句话，所有的东西都是在帮助我表演。实际上一个不停说话行动的人，一直在逃避内心最重要的那件事，越重要越逃避掩盖，一直到什么都说完了，情绪才会堆积到一个极限点突然崩溃了。”

有一次陆帕和演员聊天，问人喝醉了是什么样的，王学兵说那时的脑子里是错乱的，当喝酒喝到一定程度，他自己就变成了神，不知道自己说了什么，说话是结巴的，这是因为酒鬼想表达的东西瞬间潮涌奔袭，思想处于爆炸的状态，形成了说话语无伦次的状态。陆帕认为如果能把酒鬼的心理过程想清楚，那么这就是一个非常好的创作起点。

陆帕与演员讨论剧本中Lupa and performers were in discussion of script

《酗酒者莫非》全剧一共13幕，第一幕大概15分钟左右，王学兵最初拿到剧本的时候觉得自己三分钟就能演完，没有什么内容，大致就是一个酒鬼在早上醒来，和一只耗子说话，又突然想起来离婚的老婆杨花。一共没有几句话，那么多出来的十分钟是什么？是还原了最真实的时间。

陆帕问过王学兵，莫非为什么开始喝酒？王学兵认为莫非喝酒是为了找到爱，只有爱能救他，如果他能找到爱就不会死了。喝酒对于莫非来说就是回到童年的方法，酒是一把钥匙，好像童话里的有魔法的鞋子，有了酒他就能控制一切。可能史铁生也是在寻找这样一把打开命运秘密的钥匙，想要回到原来，想要控制局面，想要脱离宿命。

有些场景酒鬼是在轮椅上，而有些是没有轮椅的，这其中的逻辑甚为诡异。后来王学兵揭秘说：“喝酒让‘我’曾经回到了过去，和孩子进行了对话，这是‘我’自己的幻觉，这么想的时候基本不需要轮椅，身体存在于大脑的想象，‘我’越醉就越不需要这个轮椅，而清醒的时候只能在轮椅上。”

陆帕给中国演员们最深的印象是才华横溢。陆帕说他经常会把自己想象的独白写下来，这是他思考的方式。他也希望演员们能在即兴发挥之前把这些想法写下来。

演员们进组以后有一段长时间的沉闷讲述，每个人都徜徉在自我记忆的深处梳理心结，深埋在内心永远不愿去触碰的东西被重新挖掘出来。陆帕的那些讲述和提问给了演员深沉的触动，无时无刻不被他挖掘出来的那些回忆折磨占据，甚至想得难过失眠……但是时间长了，演员们为这种找不到北的方法消沉迷惘情绪低落。陆帕有一天突然拿出了他写的《昆虫腹部》这段戏，一下子就找到了《变形记》里人物和外在世界压抑束缚的关系，找到了这部戏的哲学根基。演员们豁然开朗惊喜交集，完全被这种想象力的丰富内涵折服了。过去的记忆被点燃发光了，轮回重生寓意让演员们体会到陆帕悲悯厚重的内涵。

欧洲式孤独的遥远应和

刚到中国排演场工作时，陆帕觉得很难突破文化差异的障碍，但是经历过一个个即兴创作之后他和演员们都哭了，这都是非常激烈的情感碰撞和深刻体验。对于中国大多数演员而言，这种排练是从某些严谨和缰绳中释放出来的。与此同时，中国演员的严谨和纪律，在这种情况下造成了非常有利的混合。对于他和演员来说，通过这个合作完成了一次意外的挑战和旅行，并结成非常好的朋友。

早在2016年《伐木》于天津演出后的采访中，陆帕就提出过他的舞台是一个精神实验室的说法：一群疯狂的人，将他们自己的生活作为实验的方式，为了了解他们生活的极限，冒着一切风险进入他人的认知行为。演员是比精神科医生更能成为认知工具的——演员可以反复经历特定事件，演员可以挑衅和观察发生在自己身上的事情 ，仿佛身处自己的另一边。也就是说，表演的即兴创作是对某些认知行为的相互挑衅。演员着迷的内心独白是思想和想象力在身体之间的流动，以及我们试图表达的这种流动的情感。产生真正的内心独白可以成为一个演员通往特定事件道路的发电机。

在陆帕的世界各地大师班里，他以建构内心独白为方法，让演员在自己身上建立角色的秘密。文学作品只是给定角色本身所包含的一部分，这个角色远远超出了参加戏剧活动的范围，这是一个戏剧长度内不包含的，演员必须先要经历漫长的心灵历程才能找到人物。完成好的内心独白就像是即兴创作的奇迹，使人变得越来越像一个梦想家。每一次这样的行为都是一条梦幻般的道路，一个内心独白饱满的演员就像一个装满了未知元素的炸弹，随时可能出现火山爆发。作为演绎角色的准备，作为扮演角色的演员的路径，这是内部独白的第一个平台。

内心独白的第二个平台，是在扮演角色时使用内部独白作为肉体和心理、精神的过程。意思是不依赖于所教的内容，演员尝试自己调动某个指令——我现在起床、我打开窗户等，尝试每次为每场表演打开一个内部独白。能够使用非常私人的想法，去试图打开非常不私人的想法和感情。当某一次内心体验出现在舞台上时，演员本人觉醒了，是表演过程中操作即兴演出的最佳方式。它就像角色内在独白的第二个不同空间，是一个非凡的表演工具。

学者王音洁在采访陆帕时，得到陆帕这样的表述：“人需要一个张开的空间。我们收集的快乐有点像蜜蜂从花中收集蜂蜜——蜜蜂对每朵花必须单独处理，从花粉收集花蜜不只是假装收集，如果我们不使用发生在我们身上的时间秘密、发生在我们身上的细节，我们觉得浪费时间。如果演员‘播放’得太快，则观众会跳过并且不会注意到细节，10分钟后，对于观众而言，事情变得枯燥乏味，因为观众不知道实际发生了什么。”

“剧场必须比生命更真实，它不仅意味着幻觉，由于剧场，我们可以看到生活中没有看到的，因为生命消失了。生活发生在我们身上一次，在我们了解它之前，那一刻消失了。”陆帕说。

史铁生和陆帕在《关于一部以电影为舞台背景的戏剧之设想》中相遇、碰撞，二位虽不在同一领域，却具有一种遥远的相似性。史铁生对实现演出不抱任何希望。然而他没有料到，11年以后，一个波兰导演沿着他的轮椅车辙走进了他心中的地坛，并且对上帝不容忍实现的事交出了完美的作业。陆帕徜徉在地坛里，两个孤独的灵魂共同发现了殿宇斜晖、树影风语，以及只和地坛独享的秘密絮语。

陆帕示范第二幕最后一场戏——《昆虫腹部》中莫非的出场Lupa's demostratio of the last scene of the second act - his appearance at Insect Abdomen

Krystian Lupa, together with Grotowski and Kantor, is considered one of the three giants of Polish drama in the 20thcentury. He has won the Austrian Cross Merit Medal, the Ordre des Artset etdes Lettres of the French Ministry of Culture, the European Theatre Prize and other honors. Lupa's

Logging WoodandHeroes Squarewere staged in Tianjin and Beijing as the greatest drama of LIN Zhaohua's Theatre Art Festival, creating a new record for the audiences to "spend the whole night" to watch the opera. With the end of the Tianjin LIN Zhaohua Theatre Art Festival, Lupa'sMOFEIhas gradually become a "miracle" amongst audiences. Thanks to the invitation of the Beijing Artists management Corporation's Second Laoshe Theatre Festival, it was re-staged, which compensated this regret for Beijing people. The reveal of the genuine content ofMOFEI,without any suspense, has created the "2ndheat" amongst higheducated groups.

The dramaMOFEI, presented by Propel Media, was adapted from SHI Tiesheng's work "The Imagination of a Drama with a Film as Stage Background". It coincides with the aesthetic thoughts, creative ideas of the Polish director Lupa and Chinese stage spirit, creating a wonderful combination of imagery and psychological time and space, reflecting the respect and return of contemporary theater to the ontology of drama literature.Back in 2017, he rehearsed at the Tianjin Grand Theatre, and once again people are stunned by the great master's outstanding skills in the field of psychology.

Stunning Rehearsal

Lupa has brought the European director's arrangement for drama: no script, he read more than 40,000-word novels and writers' documentaries. He also asked to translate SHI Tiesheng'sFateandAcaciainto Polish; there was no precise rehearsal schedule, and the role was discussed face-to-face with translators and actors on a daily basis, and actors were asked to come up with their own life feelings to fill the role. Though the performance was imminent, Lupa calmly led the actors to walk through philosophy, psychology and art history... "Put all the ideas of the characters of alcoholic, YANG Hua, and mother into the suitcaese, then go for traveling." Lupa said.

It is very difficult to rehearse Lupa's drama because of his strong and stubborn thoughts. The actors have to consume a lot of energy, which is exactly why the actors give up high revenuedrama for this uniqueness. The rehearsal cycle ofMOFEIwas more than half a year, and it was unexpectedly long, and the stage was most quiet like an operating room. All the cast members not only felt the sacredness of creation from this strictness to harsh discipline, but also Lupa's great respect and trust for the actors. He never urged or interrupted them, but gave them almost extravagant time and freedom, and the actors can immerse themselves in deep-conscious pursuits, without fear

of the director's interference. Instead, they could perceive a type of mind power echoing and shining enlightenment.

For the first time, I was allowed to enter the rehearsal field.The scene I saw was the actor who played role of Mofei, WANG Xuebing went into the house from the outside and fell into the bed, as he broke away from the control of the alien shape, and the rich layers of sentiment were stripped and diluted with time flow, causing people to lose the sense of time in reality. The sleeping YANG Hua sat up to comfort the drunken Mofei, but he was sweating and finally returned to reality. Later, WANG Xuebing concluded and said, "I only played the most crucial event when I was acting - just getting up. It sounds poetic, but it is actually very accurate. As the starting of a play, it let the audiences slowly enter into the life of Mofei. This scene actually only has one line, all other objects were helping me to perform.In fact, a person who keeps talking has been escaping the most important thing in the heart, the more important, the more you want escape and avoid, until everything is finished, the emotions will accumulate to a limit and suddenly collapse".

Upon chatting with actors once, Lupa asked what the drunken state was like. WANG Xuebing said that his mind was confused at the time. When drinking to a certain extent, he became a god himself, and didn't know what he had said and become stuttering. It is because the things that the drunkards wanted to express rushed out totally, and the thought was in an explosive state, forming a state of incoherence. Lupa believed that if you can think about the psychological process of the drunkard, then it is a very good starting point for creation.

MOFEIpossesses a total of 13 acts. The duration of the first act is about 15 minutes. When first acquiring the script, WANG Xuebing felt that he could finish it in three minutes as there is no substantial content, which is roughly about an alcoholic who wakes up in the morning, and only talks with a rat and suddenly remembers his divorced wife YANG Hua. There are not a few words in total, so what are the additional ten minutes that come out? It just restores the real time.

Lupa once asked WANG Xuebing about why Mofei started drinking. WANG Xuebing believed that to drink is to find love,only love can save him. If he could find love, he would not die.Drinking is a way to return to childhood for him. It is a key, like a magical shoe in a fairy tale, he can control everything with wine in hands. Perhaps SHI Tiesheng was also looking for such a key to open the secret of destiny, want to go back to the past days,control the situation and hook off the fate.

In some scenes, the drunkard was in the wheelchair, while in others, he was not. The inside logic is very strange. Later, WANG Xuebing revealed that "Drinking makes 'Me' return to the past and allow 'Me' to have a dialogue with the child. This is 'My'own illusion. When thinking about it, I basically didn't need a wheelchair as the body existed in the imagination of the brain.The more drunk you are, the less 'I' need the wheelchair, and the more you can only be in a wheelchair when you are awake."

The deepest impression Lupa left on Chinese actors is his superb talent. Lupa said that he often wrote down his own monologues,which is his way of thinking. He also hoped that the actors could write down these ideas before improvisation.

After the actors entered the group, there was a long and boring story as everyone was squatting in the depths of self-memory,and the things that were deeply buried in the heart and never touched were re-excavated. The narration and questioning from Lupa have touched the deep heart of the performers,who were occupied by the memories he had dug out all the time, even thinking of insomnia... But after a long time, they were depressed for this way of finding the path with a low and confused mood. One day, Lupa took out his own playInsect Abdomenout of nowhere, and found the relationship between the characters in theTransformationand the external world,the philosophical foundation of the play. The performers were so delighted and completely impressed by the rich connotation of this imagination. The memory of the past was ignited and illuminated, and the implied meaning of the reincarnation allowed the performers to experience the sorrowful and heavy connotation of Lupa.

European-style Distant Loneliness

When he first came to work in the Chinese rehearsal field,Lupa felt that it was difficult to break through the barriers of cultural differences. However, after experiencing the creation of timprovised works one after another, he and the performers all cried, which were very intense emotional collisions and profound experiences. For most performers in China, this rehearsal was released from certain rigor and reins. Meanwhile, the rigor and discipline of Chinese performers have formed a very favorable combination in this situation. For him and the performers, they,through this cooperation, have completed an unexpected challenge and travel, and finally he became a very good friend of all the performers.

As early as in the interview ofLogging Woodin Tianjin in 2016,Lupa proposed that his stage was a spiritual laboratory: a group of crazy people, taking their own life as an experimental way, take all risks to enter other people's cognitive behavior in order to understand the limitation of their lives. Performers are more favorable playing the role of more cognitive tools than psychiatrists—they can experience specific events over and over again, provoke and observe what happens to them, as if they are on the other side of themselves. In other words, the improvisation of performance is a mutual provocation against certain cognitive behaviors.

The inner monologue fascinated by the performers is the flow of thought and imagination between the bodies, and it is also the flowing emotions we are trying to express. Producing a true inner monologue can be a performer's generators to a specific event path.

陆帕亲临视频拍摄现场，这片场地距离剧组驻地超过50公里，摄制组需要凌晨3点出发，至8点半就因基本不再具备拍摄条件而收工，返回剧院后，10点将会开始新一天的排练Lupa visited the shooting site. The venue is more than 50 kilometers away from the crew, which requires them to start at 3 am. By 8:30, the film was closed because it was basically no longer available.After returning to the theater, it shall start the rehearsal at 10:00.

《酗酒者莫非》第二幕最后一场戏前换景，陆帕亲自示范。他强调，搬动这张床要像轮船航行在大海上一般平稳缓慢Background change of final scene of the second act of the MOFEI, Lupa demonstrated by himself.He stressed that moving the bed should be smooth and slow like a ship sailing on the sea.

In the master classes of Lupa around the world, he built the inner monologue as a way to let the performers establish the secret of the role in themselves. Literary works are only part of the given character itself. But this role goes far beyond the scope of participation in theatrical activities. This is a character, excluded in the length of the play, which requires the performers to discover after going through a long spiritual journey. Completing a great inner monologue is like a miracle of improvisation, making them more and more resemble a dreamer. Every such act is like a fantastic road. A full-fledged performer with comprehensive inner monologue is like a bomb filled with unknown elements, which may cause volcanic eruption. As a preparation for the deductive role and the path of the performers playing the role, this is the first platform for internal monologues.The second platform of inner monologue is the process of utilizing internal monologue as a physical,psychological and spiritual role in playing a character, meaning that without trelying on the content being taught, they try to mobilize an instruction themselves - I am getting up now, I open the window, endeavoring to open an internal monologue for each performance every time and using very personal ideas to open impersonal ideas and feelings. When a certain inner experience appears on the stage, the performer himself awakens, which is the best way to present improvised performances during the whole process. It is like a second different space in the character's inner monologue, an extraordinary performance tool.

In interviewing Lupa, scholar WANG Yinjie acquired such expression from Lupa: "People need an open space. The happiness we collect is a bit like bees collecting honey from flowers. The bees of each flower must be treated separately. To collect nectar from pollen is not just a pretended action. If we don't use the secrets of the time that happened to us, the details that happened to us, we think it is a waste of time. If the performers play too fast, the audience will skip and not notice the details. After 10 minutes, things become so boring for the audience, because they don't know what actually happened." Lupa said.

"The theater must be more real than life, as it not only means illusion, but we also see in the theatre what we didn't see in life because life has disappeared. Life happens to us once, and it disappears at that moment before we knew it."

SHI Tiesheng and Lupa met inThe Imagination of a Drama with a Film as Stage Background.Although the two figures are not in the same field, they share a distant similarity. SHI Tiesheng had no hope of achieving the performance. However, he did not expect that, 11 years later, a Polish director walked into the altar of this wheelchaired chinese writer and made a perfect assignment even though God did not tolerate. Lupa wandered along the altar, the two lonely souls jointly discovered temples in the sunset with shadow of trees and whispers of wind, and made their secret dialogue that was exclusive to the altar.