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《烂柯山·痴梦》的梦境设置是剧情的关键。能否体现剧作中人物心理的变化步骤,能否实现剧作赋予人物的痴迷不悟的行为,乃至对人物虚幻欲求的隐喻并由此引发的各种思考,取决于梦境时空真切的表现。梦境的存在是生活中潜意识在特殊状态下交织汇集的结果,艺术中需要由理性的安排造就一个时空方式加以表现。文学作品的梦境,可以通过辞语描述让人体会联想,读者运用认知经验来感觉梦境的存在。戏曲艺术则必须通过直观手段创造这种氛围,不论观众是否情愿,都将被这种氛围笼在其中。这种直观表现的难点,是怎样使观众理解并认可各种特定时空的假定存在。
The dream setting of “Lushan Mountain · Dream” is the key to the plot. It is up to the real expression of time and space in dreams that whether the step of changing the psychology of the characters in the play can be embodied, whether the act of obsessing over the figures given to the play, or even the metaphor of the illusory demeanor of the characters can be realized. The existence of dreams is the result of intertwined subconsciousness under special conditions in the life. Art needs to be represented by rational arrangements in a time and space manner. Dreams of literary works, can be described in words to make people feel Lenovo, readers use cognitive experience to feel the existence of dreams. The art of opera must create this kind of atmosphere through visual means, and no matter whether the audience likes it or not, it will be caged in this atmosphere. The difficulty of this visual performance is how to make the audience understand and recognize the existence of a variety of specific space-time assumptions.