这几年来,我所参与创作的戏剧都是先有演出,事后才可能有成文的剧本。或许这看起来很奇怪,因为一般的观念中,一出舞台剧应当是先由剧作家编好剧本,再由制作单位找好导演、选好设计师,再甄选演员、进行排戏,以至于最后由演员在台上演出。这是传统的方式,是非常合乎科学、讲求效率的一种方式。我不敢说这个方式不好,因为我曾看过许许多多精彩的表演来自这个方式;我只能说我时常感到这个过程很“冒险”:它把一出戏当成是许多分开的部门的组合体,因而将所有部门——编、导、演、灯光、舞台设计、服装、音效、技术等——拆开进行,再行结合工作,拼成完整的整体。优点很清楚:效率高,每一个人在他事业的那一环独立作业、完成任务。“冒险”的理由是这种方式之下有许多运气的成分以及太多未知状况:某一个演员的个性有没有办法“配 In the past few years, the plays I have been involved in are all produced first, and afterwards there may be written scripts. Perhaps this may seem weird because, in a general sense, a stage play should be prepared by a playwright, then a director should be found by the producer, a designer selected, an actor selected, and a performer drafted so that the final Performed by the actor on the stage. This is a traditional way and a very scientific and efficient way. I can not say that this is a bad way, because I have seen many wonderful performances come from this way; I can only say that I often feel that this process is “risky”: it treats a drama as many separate departments Combination, so that all departments - compiled, guided, acting, lighting, stage design, clothing, sound effects, technology, etc. - to open, and then work together to form a complete whole. The advantage is clear: high efficiency, everyone in his career that part of the independent operations to complete the task. The reason for “adventure” is that there are many elements of luck and too many unknowns under this approach: is there any way to “match” an actor’s personality