从《哈姆雷特》到《罗慕路斯大帝》,林兆华的舞台呈现出某种一贯的东西,这便是闹剧的艺术风格,是人与人、人与物紧张对峙的舞台意象。在《哈姆雷特》之中,决定着这种闹剧风格,传达着这种舞台意象的是角色间毫无过渡的转换,是三个人物突然变成了一个人物,是人与机器的决斗,是两个小丑贯穿始终的吵吵闹闹;在 From “Hamlet” to “Lord Romulus”, Lin Zhaohua’s stage shows something consistent. This is the artistic style of farce and the stage image of intense confrontation between people and people. Among the “Hamlet”, this farce style is decided, and the stage image is conveyed without any transition between characters. The three characters suddenly become a figure, a duel between man and machine, and two A clown runs through all the noise; at