Provocative erotic dancing was approved, prostitutes were sent to sweep streets, and demonstrations in favor of homosexuality were subject to armed repression, all these absurd events occurred at the same time, fully showing multiple standards under the dictatorial regime. The actors’ performances were brilliant, although a rather limited number of properties were used in the entire theater, the actors showed countless moving and memorable scenes through the coordination be- tween their bodies and these properties. When night fell, the stage became a messy and chaotic factory which was also a lively dance hall, where workers pushed each other to stretch their dirty hands holding enamel bowls through holes in their chairs, jeering by striking the bowls violently and taking liberties with the shrewish woman cook, and chairs then became properties for erotic dancing and those holes were metaphors for sexual feelings. On the second day of armed repression of the protest triggered by closure of the club, Minsk started to snow, so the actors sprinkled a bag of sugar on the ground, showing bitterness of the reality with delib erate sweetness. A girl wearing a gar- land was stripped off her left clothes, splashed with black ink ruthlessly, and dragged on a piece of white paper, leaving visible traces on the paper, but the girl was singing all the time. Then, her body was rudely wrapped in the paper and tied up with tape. However, her increasingly faint voice did not disappear. Eventually, she was extricated, just like a chrysalis breaks its cocoon and becomes a butterfly, and her sound of singing became loud again. She was carried on people’s shoulders, parading like a Queen. Although I did not see smiles, at least I saw hope. In the end of the performance, the ac- tors sat on a row of chairs in the front of the stage with their trouser legs rolled up, pretending to sit on the shore of Nemiga River (a river forced to be buried and contained within a fabricated culvert) and talk about their present and future in a relaxed manner. They were saying those days when they re- turn to Minsk, that sense of uncertainty, that sense of not longing, that sense of confusion and fear, and that sense of loss slowly faded into a Belarusian folk song. We were not allowed to applaud the performance, for it is not permissible to applaud for such a voice of freedom under the dictatorial regime, but we still applauded, which was precisely what this production told us.
暴露的色情舞蹈被審核通過,妓女被派上大街清掃街道,同性 戀遊行被武裝鎮壓。這些荒謬的事件同時發生,盡顯獨裁專制 下多重標準。演員的表演非常出色,整個劇場使用的道具非常 有限,但是演員們通過自己的身體和道具的配合展現了無數動 人和難忘的場景。晚上是邋遢混亂的工廠,晚上是熱鬧的舞 場,工人們推搡着從椅子上的洞裡伸進拿着搪瓷飯缸的髒手, 起鬨地使勁敲打作響,調戲着潑辣的廚娘,隨即,那些椅子 又成了艷舞的道具,洞裡充滿性的隱喻。在俱樂部被關閉所引 發的抗議事件被武裝鎮壓的第二天,明斯克開始下雪,演員用 一袋砂糖灑在地面,用那刻意的甜去演示現實的苦。頭戴着花 環的姑娘,剝下最後的衣裳,被狠狠潑上黑墨,被人在白紙上 拖扯,留下醒目的痕跡,姑娘始終在歌唱,身體被粗暴地用紙 張裹起,膠帶貼上,然而那微弱下去的聲音並沒有消失掉,最 終她的身軀如蝶破繭,歌聲也再一次洪亮起來。她被抬上人們 的肩頭,如女王般巡遊,我雖然看不到笑容,可是至少看到希 望。在演出的結尾部分,演員們挽起褲腿坐在舞台前的一排椅 子上,假裝是坐在Nemiga 河的岸邊(這是一條被強制掩埋管道流通的暗河)輕鬆地談論着他們的現在,他們的未來。人 們都在說著,自己回到明斯克的日子,那份不確定,不憧憬, 那份迷惘和恐懼,那份失去,在一首白俄羅斯的民歌裡被徐徐 掩蓋。我們不許鼓掌,因為這在那份獨裁政權之下,為這樣的 自由之聲鼓掌是不被允許的,可是我們還是鼓掌,也正是這部 戲告訴我們的。
On the day when this article was finished, there was a piece of Russian news which had a sobering effect on us. Three young Russian girls were sentenced to three-year imprisonment, for they sang songs critical of Putin’s government. Artists all over the world protested against such a tragedy, and Madonna even specially made a protest for them in her concert in Russia. We do not know such an experience of these girls will bring what changes in their creation or even their lives, however, they did not become a part of the silent majority, their life has already become different.
在本文結尾的當天,有一則來自俄羅斯的新聞頗讓人尋味。三個年輕的俄羅斯姑娘因為演唱的歌曲批判普京的執政府而面臨三年的監禁,全世界的自由藝術家都在為此聲援,瑪丹娜甚至在她俄羅斯的演唱會上特意為她們抗議。幾位姑娘的經歷,不知道會為她們之後的創作道路,甚至生命帶來怎樣的改變,但是沒有成為沉默的大多數,她們的人生已經不同。
