地震的公共性限制了话剧《生·活》展开的向度和深度,在很多因素都被预设的前提下,它注定是“带着镣铐跳舞”。不过,由于很多细节的绽放使其充盈出许多生长的缝隙,才没有变成一次灾难的注脚。但这恰好呈现出一个民族在灾难面前的艺术选择,选择的内容映射出一个时代的精神底蕴和一个民族对于艺术理解的程度。从这个意义上来说,它完成了“双重见证”。 The publicity of the earthquake limits the orientation and depth of the play “Live and Live”, which is bound to be “dancing in shackles” under the premise of many factors being presupposed. However, it was not a catastrophe that a flood of details filled it with a lot of growth. However, this presents exactly the artistic choice of a nation in the face of disaster. The contents of the selection map out the spirit of an era and the extent to which a nation understands art. In this sense, it has completed “double witness.”