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当今的导演,早已不具备五十年代那种可以从容不迫、左推右敲、以至反复琢磨的排戏情况了。也许过去的排演速度确实太慢,但象今天老是在“急急风”的催促下从事操作,恐怕也非好事。如果光就排演本身,要求导演把排演安排得紧一点,这在今天也非苛求。问题是,如今的导演除了考虑排戏本身,还得考虑找钱、找人等非导演本身的事。有时,找钱、找人倒也并不需要你亲自操劳,但钱、人的压力、牵制,有时也会逼得你无暇顾及排演本身。在此情况下,排出来的戏怎么会好呢?
Today’s directors do not yet have the sort of choreography that can be taken carefreely, left-right-knocked, and repeatedly pondered over in the 1950s. Maybe the pace of rehearsal in the past is indeed too slow, but it is not a good thing to work under the urgency of “hurrying wind” today. If the light rehearses itself, requiring the director to arrange the rehearsal for a little tight, which is not demanding today. The problem is, today’s director, in addition to considering the parade itself, has to think about finding money and finding someone who is not a director himself. Sometimes, to find money, find someone down does not need you to work hard, but money, people’s pressure, containment, sometimes forcing you too free to take into account the rehearsal itself. In this case, the discharge of the play how good?