汪遵熹先后导演了两部很有意义的话剧《死罪》和《情祭》。这两部戏都是在人性的开掘以及探究民族文化心理方面有所探索。较之于《死罪》,《情祭》(陕西人民艺术剧院最近上演)有了几处明显的进展。第一,历史感大大增强了。第二,同样都是致力于人性的开掘,但在《情祭》中,人性再不是虚无缥缈的东西了,而是表现为一种个体与群体、历史与现实相统一的、层次鲜明的动态系统。第三,人性不再只是某种直线或曲线的“进化”,更多是处于一种尴尬的“两难”境界。如果说真有什么“进化”,那也总要 Wang Zunxi has directed two very significant drama “Death” and “Love Festival.” Both of these plays are explored in the exploration of human nature and the psychology of national culture. Compared with the “death penalty”, “Love Festival” (Shaanxi People’s Theater recently staged) made several significant progress. First, the sense of history has been greatly enhanced. Second, both are devoted to the digging of human nature. However, in “religious sacrifices,” human nature is no longer nothingness, but rather a dynamic system of unification of individual and group, history and reality . Third, human nature is no longer just a “straight line” or “evolution” of curves, but more is in an awkward “dilemma” state. If there is really any “evolution,” it will always be