前陣子看了新現場的科利奧蘭納斯，不過“幾尺見方”的舞台用紅色油漆圍出了一個鬥獸場，人類在其間上演着殘酷的政治與軍事博弈。因為是實驗劇場，極簡的布景和轉場帶來非常先鋒的觀看感受，幾場激烈的議會辯論也穿插得巧妙。
莎翁的悲劇主人公都具有緻命的hamartia，這注定了他們最終将走向的悲劇性結局，比如李爾王和麥克白。而在這部成于晚年的悲劇中，人物的戲劇性變化同樣遵循着亞裡士多德的悲劇人物理論，從一開始的hubris到peripeteia, anagnorisis, nemesis再到最後的catharsis.
馬歇斯是一個英勇無匹的将才，卻不是一個好的政治家。在戰場上他像一頭披堅執銳的鬥牛，在權力場上卻成了一頭聽憑命運鬥篷操弄的困獸。後半程的每一場戲都是命運抛向馬歇斯的花镖，當母親、妻子和兒子乞求馬歇斯停止攻打羅馬時，命運早已抖擻好鬥篷舉起彎頭劍瞄準他的脖頸準備最後的緻命一擊。
逼仄的舞台使觀衆獲得了一種近似中景乃至遠景的抽離視角，觀衆看着馬歇斯和命運周旋，徒勞地沖刺與拼殺，看着他不可挽回地走向命定的結局。最後的割喉場景如注的血漿從馬歇斯的脖頸噴湧而出，這是刻意營造的屠殺場景，在這場力量懸殊注定敗退的搏鬥中，馬歇斯不曾退縮，命運也不曾有過絲毫憐憫。
《太陽照常升起》中鬥牛士Romero那場精彩的刺殺是人類悲劇命運的絕佳表述，是生命在終将走向毀滅前所綻放出的絕美勇氣："Romero’s left hand dropped the muleta over the bull’s muzzle to blind him, his left shoulder went forward between the horns as the sword went in, and for just an instant he and the bull were one, Romero way out over the bull, the right arm extended high up to where the hilt of the sword had gone in between the bull’s shoulders. Then the figure was broken. There was a little jolt as Romero came clear, and then he was standing, one hand up, facing the bull, his shirt ripped out from under his sleeve, the white blowing in the wind, and the bull, the red sword hilt tight between his shoulders, his head going down and his legs settling…Romero was close enough so the bull could see him. His hand still up, he spoke to the bull. The bull gathered himself, then his head wet forward and he went over slowly, then all over, suddenly, four feet in the air."
在這鬥獸場上，我們已無法分清誰是人誰是獸，而他們合二為一(were one)的纏鬥瞬間是悲劇撼動人心的内核。那被牛角劃破獵獵作響的袖子(the white blowing in the wind)既是Romero的勇氣也是公牛殊死抗争的明證。
這版的颠覆性改編是先鋒性的，無疑也是極具藝術震撼力的。它把一個具有時代局限性的史詩悲劇凝練成一出人與命運共舞的悲劇藝術。
