Scars, scars, scar, a topless actor circled his scars in red ink in the middle of the stage. Then, he raised his head, facing the audience and smiling shyly, ‘girls like my scars, and they said that they are very sexy.’ At this time, an expression of sudden seriousness crossed his face and he said, ‘however, if scars are sexy, Minsk must be the most beautiful and sexiest city in the world.’ With such a scene and such lines, this performance can be deservedly regarded as a memorable one. It is not given in Belarus in English, but in London in deep and complex Russian.

傷疤,傷疤,傷疤,一位赤裸着上身的男演員在舞台的正中用紅色的水筆圈着 自己身上的傷疤。他抬起頭,面向觀眾,靦腆地笑着:“姑娘們都喜歡我的傷 疤,她們說,這很性感。”然而,他的表情突然嚴肅起來,“但是,如果說這是一 種性感的話,那,明斯克,將是世界上最美,最性感的城市。”有了這一幕的積 澱,有了這一句台詞,這部戲已經可以了。這不是在白俄羅斯,這不是英語, 這是在倫敦,這是渾厚複雜的俄語。

C.Dzenis Tarasenka in Minsk, 2011. Photo by Nikolai Khalezin


At London International Festival of Theatre, the style here is not as friendly and peaceful as its name sounds. Many odd voices all over the world are heard here. They are experimental and with strong political overtones; they are neither pleasant nor dogmatic; they value theatrical arts and do not ignore levels of creation with striking themes; and theater is the way they speak, it does not matter which language is used.

倫敦國際戲劇節,風格卻從不像它的名字聽上去那麼友好和平 和。世界上許多褶皺的喉嚨,是在這裡發出聲響的。他們邊 緣,政治色彩濃重,不愉悅,也不教條,他們遵守劇場藝術為 上,並不因為題材的醒目而忽略創作的水平。戲劇是他們說話 的方式,是什麼語言並不重要。

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