在念本科的时候,我第一次去南大的张心瑜剧场看学生演剧《门里门外》。记得其中有一幕,讲一对贫贱夫妻为生活所迫,丈夫下狠心出走。扮演丈夫的演员步履蹒跚,晃晃悠悠地走上了观众席,大家竟也不以为忤。聚光灯打在他的脸上,妆化得不伦不类,眉毛没染彻底,灰白黑三色相间,像冬日里野火烧过后留下的烬余。我饶有兴致地打量着那故作沉痛的表情,暗想他既已跨过了“幕线”(熊佛西语),理 At the time of my undergraduate study, I first went to the theater of Zhangda Yu at Nanda to see the student drama “Inside the Door.” I remember there was a scene in which a poor couple was forced to live and her husband was cruel to leave. The actor who plays her husband faltered and walked onto the auditorium in a leisurely manner. The spotlight hit him on the face, the look of all things looks out of fashion, eyebrows dyed thoroughly, gray and black and white, like the remains of a burnt-ember in winter. I watched with great interest that painful expression, thought he had crossed the “curtain” (Xiong Fosi), Li