三、表演:呈现“能成为什么”对最具生气的一面进行强化和放大,不仅要考虑到“现实存在”,还得考虑到“可能存在”。因为形象主体,总是“是什么”与“能成为什么”的统一体。是什么,通过包装来展示;能成为什么只是种可能性,想包装也无从着手。仍按前面说的,存在就是被感知,不被感知就不存在。要使可能性被感知,基本途径就是表演。梅兰芳演《贵妃醉酒》,观众看到梅兰芳能够成为一个好旦角,这是狭义的舞台表演。我要 Third, performances: Presenting “what can become” strengthens and amplifies the most lively side, not only taking into account “reality exists” but also taking into account “possible existence”. Because the main body of the image is always the unity of what it is and what it can be. What is it through the packaging; what can be just a possibility, want to pack can not start. Still according to the foregoing, existence is perceived, and no perception is absent. To make sense of possibility, the basic approach is performance. Mei Lanfang performed “Drunken in Royal Tea”. The audience saw Mei Lanfang as a good sweet spot. This is a narrow stage performance. I need to