毕竟这已经是众声喧哗的21世纪。尽管购买文化身份是一种时尚,形象体现了这一时期都市人身份确认的焦虑,但毕竟另类的声音也在众声喧哗中有了生长的空间。它们也许还没有被主流意识形态所认可,也没有被大多数观众所接纳,但它们的确有着弱势者所特有的活力。比如说史可制作并主演的《娜当娜的灵光》。虽说这出戏几乎是一种夭折状态,无声无息地淹没在北京的话剧舞台上,但它却以语言为利器,直指中产阶级 After all, this is already the hubbub of the 21st century. Although the purchase of cultural identity is a fashion, the image reflects the anxiety of the identity of urban people during this period, but after all, alternative voices also have room for growth in the hubbub. They may not have been recognized by the dominant ideology nor accepted by most of the audience, but they do have the vitality that characterizes the underprivileged. For example, history can be produced and starred in “Emmanuel Emmanuel.” Although the play is almost a state of abortion, quietly submerged in the stage of Beijing’s drama, but it is language as a weapon, directed at the middle class