第一次看于坚的长诗《零档案》,并决定以它为出发点做一出戏剧时,我是从直觉而不是从社会性的公共议题出发的。那些直觉是:长诗中那种物质感、那种排列感。那么多物体,大的、小的,排列在一起,干巴巴的。这其实是当代艺术的思维,装置艺术的思维,不是所谓常规戏剧的思维。 When I first looked at Kennedy’s long poem Zero Files and decided to use it as a starting point for a drama, I started with intuition rather than social publicity. Those intuitions are: the kind of sense of material in the poem, the sense of arrangement. So many objects, big, small, arranged together, dry. This is actually the thinking of contemporary art, installation of art thinking, not the so-called conventional drama thinking.