布莱希特笔下的潘第拉老爷,并非我们舞台上惯见的地主形象。这是个“被间离了的地主形象”,他对于我们是陌生的。酒醉的潘第拉是位赤诚的博爱者,说人话,做人事,而清醒的潘第拉则是个忠实执行阶级使命,剥削成性的人。他和男仆马狄的关系:酒醉时是朋友,清醒时是主仆。马狄憎恶主人清醒时的凶狠,似乎多少也期望他醉酒后的人性表现。然而,布莱希特本人的阶级倾向性是十分明显的。他笔下的仆人认识到主人的糊涂是暂时的,主仆终究是油水关系不能相混,马狄终于在老爷大醉未醒之前出走了。为了能够表达布氏的“潘第拉要成为一个人(他也有愿望成为一个人)就必须放弃剥削”的辩证思想,我决定选排《潘》剧中既表现潘第拉清醒又表现他酒 Brexit’s master Pillah, not the usual landlords image on the stage. This is a “lost landowner image” and he is strange to us. Drunken Pandora is a sincere and loving person, talking human, doing human resources, and sober Pandora is a faithful implementation of the class mission, exploitative people. His relationship with Mati Mati: friends when you are drunk, master and servant when you’re awake. Ma Di hate the host when awake fierce, it seems that how many also expect him to drunk after the human performance. However, Brecht’s own class orientation is quite obvious. His servant realized that the owner’s confusion was temporary, master-servant relationship between oil and water after all, can not be mixed, Ma Di finally drunk before the Lord did not wake up. In order to be able to express Brigitte’s “Pandora must become a man (he also has the desire to be a man) must give up the exploitation of” dialectical thinking, I decided to arrange “Pan” show both Pandela awake performance of his wine