节目单（中英对照版）
节目单
１
翻开印制的精美的节目单，你看见
一个虚构的夜晚：月亮像霍乱病人的面孔。
他坐在花园的石椅上。失去父亲的悲伤
像劣等酒一样刺激着他的心灵。你看见
他失神的目光凝望着枯萎的菊花。
当伴奏的乐曲响起，他开始在舞台上
来回走动。他看见了你。你和他知道
演员和观众的位置的确定，意味着：混淆。
２
一步，仅仅一步，你便迈过了观众的
界线。你甚至抢夺了主人公的角色。
你站在他的位置上，你开始了一个报仇的
过程。比起他来，你更清楚仇人是谁。
你几乎是狂吼着喊出仇人的名字。你，
挥舞着本属于他的剑，跑到了舞台的
最高处。你指挥着跑龙套的人，要他们
把仇人带到你的面前，你要立即砍下他的头。
３
他容忍了你的行为吗？他显得多么沮丧呀！
他悄悄地退到了舞台的角落里，手，
不停地拉动一角幕布。下面的情节
应该怎么处理？一个更大的场面怎么
与这个场面结合成完整的一幕？他
已经不知道。两个小时的时间，怎么能
在半个小时就打发完呢？还应该有
阴谋、诡计、背叛，还应该有一个人的爱情。
４
于是，时间在人们的眼睛里颤动：云，
像疯狗似的在人们头顶奔走；河水
下降露出光滑的鹅孵石；蝙蝠，
在黄昏时分不停地掠过嗡嗡作响的电线。
于是，你开始陈述一册书中的细节；
一个句子读出时存在的低沉的
卷舌音。它们成为戏剧中的戏剧；
关于死亡，关于死亡后复活的述说。于是，
５
人们看到惊心动魂的一小段：在街道的角落，
拥挤的酒店里，喝得酩酊大醉的士兵们
满嘴猥亵的话语。他们中的两个争吵
起来了，为了对一个女人的评论。直到
拔刀相向，直到将酒店打得一塌糊涂。
狂乱中，所有的人加入了混战。而且，
有人死亡。这种血腥带来了多大的满足？
观众们全都睁大了眼睛，看得心惊胆颤。
６
而多愁善感的已经在哭泣。而一个丧偶的
女人已昏倒在座位上。时间，仿佛已
滑向了一边。你仿佛已走入另外的生活。
“白日的城市，就让它们像泡沫一样消失吧。
上升，上升。但不是像蒸汽似的上升，
而是像火箭一样带着呼啸和火焰上升。”
你对哭泣的感到满意；对昏倒的
发出诅咒：羼弱的灵魂，你们存在有什么用？
７
那么他呢？他带着黯淡的心情离开了。
他进入了现实僻静的小巷。在昏黄的
灯光下低头行走。风，在他的头顶
像小偷掀动屋顶似的发出响声。
他知道这一次退出就意味着永远退出。
人，怎么能在戏剧中度过一生？道具的酒，
不可能长期模仿酒。当他转而迈进
一家小酒馆，他大喊了一声：小二，拿酒来。
８
哦，你陶醉在舞台上。你就像王子看到了
王位的空出。这时候，你的眼睛里
看到的是比天堂更欢乐的场面：所有
跑龙套的都像你手中的道具。你摆弄
他们，就像摆弄铅笔。桌椅说话？
你让桌椅说出了话。墙和树木能否
走动？你让它们在舞台上像豹子
一样走动。“伟大的舞台是一场斑斓的梦。”
９
但你，你将如何使大幕落下？一个接一个
的高潮，不单掀动了观众心中的狂热浪潮，
而且把你推向了亢奋的中心。眼睛中，
你看到的尽都是刀光剑影。一段段乐曲
构造出一个锦绣的未来。像面包一样
膨胀的欲望，使你的手一伸再伸。你
忘记了自己，忘记了他。你成为
僭越者。你已经抓住什么就以为是什么。
1994·11·16
The program （柯雷 译）
1
Leafingthrough the beautifully printed. program, you see
afiction of night: with a moon like ravaged by cholera
he’ssitting on a stone bench in the garden. Grief over the loss of his father
stirshis soul as would cheap liquor. You see
hisdepressed stare at the withered chrysanthemum.
Whenthe orchestra strikes up, he starts, on the stage,
Towalk back and forth. He sees you. You and he know what it means
todefine positions for the actors and the audience: confusion.
2
withone step, with just one step, you have crossed the audience’s
line.You have even seized the main character’s role
youhave taken his position now, and started on a path
ofrevenge. You know better than he who the enemy is,
youare close to madly shouting the enemy’s name. You,
brandishingthe sword that was once his, dash toward
thehigh point of the stage. You are directing the extras, you want them
tobring the enemy before you, you want to chop off his head right there.
3
doeshe tolerate your behavior? He seems so dejected!
Hehas quietly withdrawn to a corner of the stage, his hands
restlesslytugging the edge of the curtain. What about the rest of the plot
howshould it be handled? How will a larger scene
combinewith this scene to form a fully-fledged act? He
doesn’tknow now. How can the time of two hours
bewhiled away in only half an hour? And there should be
schemesyet and conspiracies, betrayal—and someone’s love.
4
Thereupon,time quivers in the crowd’s eyes: clouds
rushlike dogs over crowd’s heads; the river
falls,revealing glossy cobble stones; bats at dusk
swoopto and fro round humming electricity lines
thereupon,you start stating details from a book:
downcast,retroflex sounds in a sentence
readout loud. They turn into a play within a play
ondeath, on narrative come back to life from death. Thereupon.
5
thecrowd see a shocking episode: in a busy
street-cornerinn, a bunch of blind-drunk soldiers
areloudly talking smut. Two of them get into a quarrel
overcomments made about a woman. This leads to
knivesbeing drawn, to the inn being smashed up as they fight
Inthis madness, all those present lunge into tangled warfare And
Someonedies. Just how satisfying is this smell of blood?
Theaudience is watching, wide-eyed and trembling with fear.
6
Andthe sentimental are sobbing. And a woman
bereftof her man has fainted in her seat. Time seems
toglide to one side now. You seem to walk into another life now.
“thisdaytime city—let it vanish froth, let it
riselet it rise. But not rise like steam, no,
riselike a rocket, screaming and in flames.”
Youare satisfied with those sobbing. As for the one that fainted,
Heryou curse: you frail soul, what good I this you exist?
7
wellwhat about him? He has left, in a gloomy state of mind. He
hasentered an out-of-the-way side street of reality. Under pale yellow
streetlights,he walks with lowered head. The wind makes
noiseshigh above, like a thief lifting up a roof. He
knowsthat to quit now means to quit forever. How
couldone spend a lifetime inside a play? Wine on stage
willnot resemble wine for long. As he turns and strides into
asmall winesop, he shouts: waiter, bring out the wine.
8
Butyou are drunk with being on stage. You’re like the crown prince
whosees the throne unoccupied. At this moment, what your eyes
seeis a scene sweeter than paradise: all of the
extrasare like stage props in your hand. You fiddle
withthem, as if fiddling with pencils. Chairs and tables talking?
Youmake the chairs and tables talk. Can walls and trees
Walkabout? You make them look like leopards on stage, and
Walkabout. “The stage in its greatness is a gorgeous dream.”
9
but—howwill you make the final curtain fall? One climax
afteranother has failed to warm the hearts of the audience,
andpushed you to the center of excitement instead, In their eyes
allyou see is the glint and flash of knives and swords. The music
keepsworking to construct a splendid paradise. Desires, swollen
likebread, makes you reach out your hand time and again. You
haveforgotten yourself and forgotten him. You have become
ausurper. You now think that whatever you lay hands on is real.
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