像感受记忆一样理解
- 图像时代重塑了叙事的节奏和方式，现在，当我们想象故事时我们已无法不做好面对片段和闪回的准备。这是对故事和叙事的祛魅，使她们永不再能够和从前一样在话语中占据最特殊地位——现在我们渐渐意识到这种失去。我们需要一场 Re-Enchantment。
- 影片的意义在于重看，而剧场的意义在于遗忘——以及，必然与之同时产生的，遗忘的反面。一旦发生就意味着被错过，或更进一步说，发生即是错过，被错过即发生的意义*。观众/人不会停止尝试捕捉发生，其必然的失败是剧场存在的根本原因。从此角度出发，观看的批量制造，与观看的偶然性，只能是此消彼长的关系。
- 如此，便应该像理解、感受记忆那样想象剧场。记忆从不只针对时间成立，即使它是，也不只针对过去成立。罗马神话中的双头神雅努斯，一张脸望过去，一张脸望未来，剧场亦如是，观众在剧场中亦应如是。
- Immersive-ness is but only the footnote of performativity. The more immersive a theatre is, the more performative it is at the same time. The immersive-ness could never be holistically realised – the actualisation of immersion sentences the death of theatre/performance. It is the very reason why immersive theatre could never truly become a real praxis at its own.
- The standard of imagining so-called immersive theatre is waiting to be revaluated. To say a theatre/performance is immersive is violent and coercive in the sense that it is no difference from trying to forcibly separate theatricality into (at least) two parts: the performance, and the other part that exists only to lure you to think that this is not a performance – which more than often happens to result in emphasising how much of a performance this is. In this sense the idea of immersive theatre is nowhere experimental but instead a grand returning to the pre-origin of the theatrical form.
- 大空间里人变小，小空间里人变大——人的重量在观众的整体空间感受中占据何等位置，对于观众对戏「人化程度」的思考会产生影响。所谓人化程度即是剧场有多大程度直接和人相关：太直接就枯燥，太不直接就失焦。所有剧场都和人相关，有些剧场从此出发，另一些剧场至此作结——还有一些其他剧场可以走得比这更远。
*罗兰巴特如何谈摄影？