【剧本杀004】愿 （情感篇 文辰宇幕一）

无所顾忌孩童时，

奈何骄傲轻狂误。

情之所起意难忘，

深陷其中爱别离。

又是一夕朝令改，

缘份天定又折磨，

浅笑生死两茫茫。

你是文辰宇，一个出生就自带主角光环的人。

1993年，你出生在军歌嘹亮的部队大院中，小时候的你和母亲很亲，毕竟自你有记忆起，父亲就经常忙得不见身影，总是母亲陪在你的身边。

母亲是一个柔和温婉的女人，她很少出门。面对粗心的父亲，从来没有任何怨言。她话不多，却总是给你最好的照顾，教你识字和道理，你喜欢吃她做的每一道菜。

父亲看起来憨憨的，皮肤黝黑。他脾气暴躁，总是不耐烦地处理着大小事情。母亲会默默地准备好温热清心的绿茶和营养美味的吃食。

你似乎遗传了父亲的倔强与顽皮，整日蹦蹦跳跳，闯祸不断。

你是大院里公认的混世大魔王，爬树打架都是常事，淘气的你还经常恶作剧，惹得男女老少一惊一乍的。

1998年，家人换了新的居住环境。独门独院的设计，你不得不给自己找寻新的乐趣。

今年的雪，似乎来得晚了点，眼瞅着就要过年了。父亲依旧不在，而你只能一个人在屋外玩着雪。

那天你见到了她，唐楚玥。

你第一见到这样的女孩，眼底满满的骄傲。

她是美的，毋庸置疑。圆圆的眼睛，长长的睫毛，一眨一眨的，像极了天上的星星。小小的脸粉嫩粉嫩的，还有小小的酒窝和精致的衣服。

可是，你不喜欢她。你觉得她就像是云端的人，高高在上，没有一点点温度。

你的雪球不小心擦到了她的衣角，你看到她居高临下的眼神，你不屑的看着她予以回馈。

原来唐楚玥家境极好，书香门第，是唐家唯一的独生女儿。爷爷是博学睿智的大教育家，学术考究，期刊讲座，桃李天下，中外闻名，人人敬佩。父亲是严谨正直的外交高官，内敛谦逊、风度翩翩；母亲则是传统知性的教授，温柔如水、落落大方。

听说她小小年纪就写得一手的簪花小楷，琴棋书画，无一不通。

当然，这都是后来母亲告诉你的，还有母亲和唐阿姨是上学时期就很要好的朋友。她们很像，都是温润如玉的优雅女人。

那次之后，两家便多了往来。你也经常和唐楚玥在一起嬉笑打闹。并不是因为大人口中臆想，只不过是你们都能平常心对待彼此，是唯一陪伴罢了。是啊，太多的目的性充斥在你们周围，防不胜防。

你们都是骄傲倔强的人，却也不得不看透世间繁华和人心。

1998年9月，你们开始一起上下学，成了同学。你们看起来无所不谈，甚至形影不离，所有人都带着羡慕的眼光打量你们。你聪明英俊，以篮球为主，吸引了无数迷妹的尖叫和追逐；唐楚玥是品学兼优的三好学生，老师眼里的乖乖女，同学口中的女神。你们都是学校的风云人物，情书礼物满天飞，但又从未有人得逞。就好像只有彼此才配得上对方似的。虽然，你们只是朋友，或者更像亲人。

2004年的暑假，你和父母第一次去了西藏，那年你见到了顾南。

顾南是你在西藏见到的第一个人，他是你们的地陪。

十五六的年纪，成熟稳重，客气而不失分寸。

一路上的景点介绍和传奇故事，每一处每一个点都细致准确。你第一次羡慕一个人。他怎么会知道这么多，又能娓娓道来。整整六天，他不骄不躁，连挑剔的父亲都不只一次的夸奖他，说他会有大出息。

你早就厌倦了父亲的忆当年，于是在最后一天的自由行程，迟迟不愿起床。你想从顾南那听更多的有趣的事。

事实证明，人还是不能太相信自己。

听着父母离去的声音，你迅速爬起，却听到顾南外出的消息。你背着自己的书包，朝着所指的方向走去。

可是走着走着，你就迷路了，还没有信号。

也不知过了多久，顾南找到了早已筋疲力尽的你。

母亲说，他是你的救命恩人。

2004年，你和唐楚玥一起步入了初中。

这年，你认识了彭程和叶语晴，还见到了顾南。

彭程和叶语晴就像两个世界的人，却总是很有默契，也不知道是什么原因。

彭程看起来好似上个世纪的老学究，不爱说话，却散发着一股迂腐的气息。

叶语晴是一个胖乎乎的女孩，听说家境并不好，但也干净体面，还总是爱笑。就像春日里最和煦的阳光。

顾南总是无故缺勤不说，烫头染发、抽烟打架，据说还有纹身……是人人口中的坏学生。

这并不是你印象里的顾南，只是你尊重他的一切选择。

2006年，你恼火地和母亲抱怨队员防守不利，害你丢了分。

母亲笑着和你说，为什么不让顾南和你一起呢？

想想也是，顾南身体健硕，能够加入也不算什么坏事。

再说了，你喜欢他身上的侠者之气，那是你可望而不可求。

第二天，你找到了顾南，邀请他进入你的篮球队。

他看了你一眼，居然爽快地答应了，并且按时出席每一次训练。你们配合的很好。

只不过，顾南不太爱说话。总是在比赛结束的瞬间便消失得无影无踪，也从来不参加你们孩子般的聚会。

他，的确比你们成熟稳重得多。

你们的嬉笑打闹，他从来不会参与，更多的是把你们从玩闹中拉回来，队里的人也都很尊敬他。他就像是你们所有人的定海神针。

他，真的如传言那么坏吗？

2007年，你们进入高中，你第一次见到她。

还记得那是一个午后，你刚刚结束了一场篮球赛，喝着最爱的可乐。

某人横冲直撞的从教室跑出，直接撞进了你的怀里。

这么多年的迷妹套路，还真的是没有这种用力过猛的，你差点就直接坐在地上了。

女孩瘦瘦高高，衣着朴素，脸色也不是很好。

她抬头望着你，你也看着她，她的眼里为什么有温柔？你看到她眼睛湿润了，却一动不动。她没有说话，你也没有。你们好似就会这样一直看下去。

你听到唐楚玥从后面传来的声音，你和她走进了教室，和她聊着你们熟悉的事。

那个女孩，她叫童婳，很美的名字。

你们居然是同班同学，只是你很少出现在学校，也从来没有注意到她。

你的任务：

1 用心感受人物，尊重人设。

2 做好自我介绍，理清人物关系。

3 有人隐瞒了事实，尝试找出来。

比较短的经典话剧剧本有《电梯里的故事》、《魔法书店》、《两个绅士》。

一、《电梯里的故事》。

内容简介：

这个故事发生在一个住宅楼电梯里。电梯上有三个人：一个经理、一个年轻女子和一个老妇人。电梯突然停了下来，没有任何声音和灯光，三个人被困在电梯里。他们试图去联系其他人寻求帮助，但是一直得不到回应。

在整个过程中，这三个人开始互相交流并逐渐打开彼此的心扉。经理讲述了他与儿子之间的问题，年轻女子谈及她的职业梦想，而老妇人则分享了自己的孤独和内心的挣扎。他们最终被成功解救出来，但是这段时间让他们重新认识和理解彼此，并且给他们留下了深刻的印象。

二、《魔法书店》。

内容简介：

故事发生在一个古老的魔法书店里，主人是一个神秘的老人。一个年轻女子走进了书店，她希望找到一本可以帮助她解决各种问题的书籍。

老人为她推荐了几本书，但都被女子婉拒了。最终，老人为女子推荐了一本非常特别的书，这本书并不是解决问题的书籍，而是讲述了如何去面对和体验生活。女子对这本书很感兴趣，并询问这本书的价格，老人告诉她，这本书的价格就是她所需要解决的问题的答案。

女子回到家后开始阅读这本书，她惊讶地发现书页中有很多引导她思考问题的问题，并在思考过程中慢慢领悟人生的真谛。最终她明白了一个道理：每个人都有自己的命运，无论遭遇什么困难，我们都必须坚强地面对。她重新审视自己的生活，找到了解决问题的方法，并且开始享受生活。

三、《两个绅士》。

内容简介：

故事发生在伦敦一个高档餐厅里。两位老绅士在餐厅吃午餐，他们开始聊起了对于艺术的不同看法。其中一位认为艺术应该具有一定的功利性，而另一位则认为艺术应该追求自身的美学价值。随着讨论的深入，两人开始谈及自己的经历和生活观。

其中一位老绅士讲述了他年轻时曾因为一段恋情而失去了生活的方向感，直到后来遇见了一个女子，他才重新找到了生活的目标。而另一位老绅士则谈及了他曾经拥有的物质财富却没有真正的幸福，直到他与妻子相遇，才明白了生命中真正重要的东西。

洗车工再一次汽车展览会上爱上了车模，梦想有一天开着豪车带着车模兜风，死也值得！

车模傍上了大款，大款搂着车模去洗车，大款老婆出现打了车模，大款跪地求饶，一起打车模。

洗车工上前制止，被揍的鼻青脸肿。洗车工了解到，原来车模妈妈病重在医院急需50万手续费。洗车工偷了所在4s店里的一辆法拉利，在黑市买了50万，救了车模妈妈，却被抓。4s店老板知道事情后，告诉车模如果把钱还上可以，给警察撒谎说车没被偷而是借去忘还。车模去找打他老板，满足老板SM后把钱还上。最后洗车工和车模结婚了

让我再说一次我爱你

我们都有自己的初恋，初恋的阶段是懵懵懂懂的，初恋是我们最美好的记忆和时光，它让我们成长，让我们懂得什么是爱情，经典非常值得大家收藏。

亲爱的初恋：

不知道你现在在哪座城市，过着怎么样的生活。今天，距离我们分手已经有15年之久了，我不知道现在的你是什么模样，我甚至也记不清十五年前你的样子，只是有一张模糊的，但又被我反复雕琢过的脸出现在我的记忆当中。亲爱的初恋，直到今天，我这么平静地坐在家里，遥想我们当年的往事，我才真正深刻地意识到，你不是具体的某某某，你是我的初恋，代表着我繁华的青春，代表着那个时候的我自己。

我那么的爱过你。我那时那么年轻，那么相信爱情。我以为你会是我的全世界，会是我的一生一世，我甚至从来没设想过分离。我记得我很爱叫你老公，因为我笃定你会是我一辈子的男人，我不能想象、也不能容忍自己还会爱上别的什么人。那个时候的我们，是那么血气方刚，那么不可一世，我们不怕任何阻碍，也根本不在乎我们的感情会不会得到祝福。我那时候只想，无论遇到什么坎坷我都要跟着你，无论你走到天涯海角我也要跟着你。我每天都想见你，一刻都不想分离，我不能容忍你和除我以外的任何异性多说两句话，我要你每天都说爱我，我要你望向我的每一眼都带着激越和深情。那个时候的我们，对爱从不吝惜，"一生一世"，"唯有你"，"永不变"，我们常用这些最激烈的词汇表露自己的真心，用最猛烈甚至出格的方式表达爱意。我甚至希望出现某种逆境，好叫我为你死，或为你牺牲，以证明我爱得多么浓烈。那个时候的我啊，以为这就是爱情，以为这才是爱情。我坚定地相信，我永远只会爱你一个人，爱情也只有这样一种极端的表现形式。

可后来，我们还是分手了，没有多好的理由，和大多数人一样，因为在时光的流逝中激情逐渐退却，因为对方的缺点日益变成一种对自己的诅咒，因为发现原来这个世界上还有更好的选择。总之，我们在一片伤心欲绝中分道扬镳。

和你分手后的很长一段时间，我以为我不会再爱了。我始终无法释怀，也不愿意相信。我无法释怀如果连曾经那么相爱的我们都最终走到分手，世间到底还有什么感情值得信任我无法释怀你说的永远、你说的唯一怎么可以说变就变我无法释怀我们共同构筑的梦想怎么可以这么不堪一击我怎么也弄不明白，明明那么相爱的人，怎么说不爱就不爱了呢我渐渐相信，人的一生只会爱一个人，而在我的生命里，那个人就是你，现在你走了，我命中的爱情已经用尽。所以，我恨你。

可是后来我却发现，时间可以治愈一切。我渐渐不再哭泣，不再梦见你，不再觉得每个人的身上都有你的影子。我不再每天想你，不再每周想你，直到后来，我偶尔才会想起你。我又恋爱了，分手了，再恋爱，再分手，逐渐的，你已经离我那么遥远。

现在，我结婚了，还有了一个宝宝，过着一种以前从未想过的生活。我很爱我的老公，可以说，我爱他的程度并不亚于当年爱你。但是，我们的爱并不那么死去活来，而是在稀疏平常的日子里，在每一句平淡如水的对话里，感受或表达着爱意。亲爱的初恋，当年那个深爱着你的我，从来没有想过爱还可以这样。我以为所有的爱情都应该大风大浪，都应该刀光剑影，从未想过爱情还可以如湖水般平静而深邃。

偶尔的，我还是会想起你。当我看到人群中那些稚嫩的情侣，当和老朋友聊到共同的过去，当不经意间又路过我们曾经去过的小巷，或者不明所以地，就是忽然想到你。亲爱的初恋，我早已不再恨你，有时我也会想，我还爱你吗我想大概还爱吧，只是这份爱，已经无需证明，也无需表达。你已经和我青春的记忆紧紧地绑在一起，一想到你，我就会想到我们相爱的那些日子，那时天空的颜色，那时我棱角分明的价值观和我对爱情奋不顾身的执着，你总是能牵扯出一长串的回忆，牵动我整个的青春。所以，我想谢谢你，所有的伤害，所有的痛不欲生都已经过去，并且祭奠成我美好而独一无二的回忆。

亲爱的初恋，忽然想起老男孩里的那句歌词："那时陪伴我的人啊你如今在何方，我曾经爱过的人啊现在是什么模样"。不知道你现在过得还好吗我想告诉你，我过得很好。虽然我写下这封信给你，虽然偶尔我还是会想你，但是我并不想见你，这封信也并不会寄给你。就让你永远停留在你的位置上吧，那个张扬、疯狂、不顾一切的年代，我穿着百褶裙，而你穿着运动衣。我只是想告诉你，谢谢你给过我不一样的爱情，谢谢你用一次又一次的呼吸刻画了我青春的印记。我现在在这里，你就留在过去，让我们用一种奇特的方式不断产生交集。最后，就让我再说一次我爱你吧，这种爱，是对我们共同过去的尊重，是对青春的缅怀，是对曾经执着爱过的我们的敬意，我想，你都会懂的。

首先，选本，情感本需要玩家格外投入和沉浸，所以最好选择与自己本身性格特点比较相符的角色去体验ta的一生。一般情感本开场选本前，dm都会给到几个问题，术语称为“Q&A”，根据你对于一些问题的回答，与剧本角色的贴合度，来给你分配更适合你的剧本。

其次，读本，在读本过程中，一定要安静、认真，不要经常与朋友交头接耳，尤其说一些与剧本无关的内容，因为这会让你自己以及其他同车玩家非常出戏。情感本是需要氛围的营造的，玩家需要有较强的信念感，抛除现实生活中的你自己，所以出戏会让人很难再入戏。

再次，交流。行话叫“输出”。情感本可能经常需要我们代入角色的人生，站在ta的立场，对在场玩家或npc交流，所以前提就是你要吃透你的这个角色，ta会对谁报有怎么样的感情？对ta的cp、亲朋好友都会说些什么话？一般在沉浸环节，dm都会关灯，让玩家们打开手中的蜡烛营造气氛。

此时，dm可能会扮演一定的npc角色，问你一些戳心的问题，行话叫“灵魂拷问”，直指玩家内心深处的情感，让人动容甚至哭泣。如果你无法共情，也不要做出一些嘲笑哭泣的沉浸玩家等不礼貌的举动。

最后，情感本一般没有凶案或者推凶并不重要，所以一般不必揪着一个点一直盘，影响其他人游戏体验和进程。

大师可以推荐几个比较好玩的情感本《永不褪色的山楂林》《云使》《苍歧》《林记凉茶铺》《小吊梨汤》等等，小侦探可以试试哦。

Scene I A public place

(Enter Sampson and Gregory armed with swords and bucklers)

SampsonGregory, o' my word, we'll not carry coals

GregoryNo, for then we should be colliers

SampsonI mean, an we be in choler we'll draw

GregoryAy, while you live, draw your neck out o' the collar

SampsonI strike quickly, being moved

GregoryBut thou art not quickly moved to strike

SampsonA dog of the house of Montague moves me

GregoryTo move is to stir; and to be valiant is to stand:therefore, if thou art moved, thou runn'st away

SampsonA dog of that house shall move me to stand:I will take the wall of any man or maid of Montague's

GregoryThat shows thee a weak slave; for the weakest goes to thewall

SampsonTrue; and therefore women, being the weaker vessels,are ever thrust to the wall: therefore I will push Montague's menfrom the wall and thrust his maids to the wall

GregoryThe quarrel is between our masters and us their men

Sampson'Tis all one, I will show myself a tyrant:when I have fought with the men I will be cruel with the maids,I will cut off their heads

GregoryThe heads of the maids

SampsonAy, the heads of the maids, or their maidenheads;take it in what sense thou wilt

GregoryThey must take it in sense that feel it

SampsonMe they shall feel while I am able to stand:and 'tis known I am a pretty piece of flesh

Gregory'Tis well thou art not fish; if thou hadst,thou hadst been poor-John--Draw thy tool;Here comes two of the house of Montagues

SampsonMy naked weapon is out: quarrel! I will back thee

GregoryHow! turn thy back and run

SampsonFear me not

GregoryNo, marry; I fear thee!

SampsonLet us take the law of our sides; let them begin

GregoryI will frown as I pass by; and let them take it as theylist

SampsonNay, as they dare I will bite my thumb at them; which isdisgrace to them if they bear it

(Enter Abraham and Balthasar)

AbrahamDo you bite your thumb at us, sir

SampsonI do bite my thumb, sir

AbrahamDo you bite your thumb at us, sir

SampsonIs the law of our side if I say ay

GregoryNo

SampsonNo, sir, I do not bite my thumb at you, sir; but I bite mythumb, sir

GregoryDo you quarrel, sir

AbrahamQuarrel, sir! no, sir

SampsonBut if you do, sir, am for you: I serve as good a man asyou

AbrahamNo better

SampsonWell, sir

GregorySay better; here comes one of my master's kinsmen

SampsonYes, better, sir

AbrahamYou lie

SampsonDraw, if you be men--Gregory, remember thy swashing blow

(They fight)

(Enter Benvolio)

BenvolioPart, fools! put up your swords; you know not what you do(Beats down their swords)

(Enter Tybalt)

TybaltWhat, art thou drawn among these heartless hindsTurn thee Benvolio, look upon thy death

BenvolioI do but keep the peace: put up thy sword,Or manage it to part these men with me

TybaltWhat, drawn, and talk of peace! I hate the wordAs I hate hell, all Montagues, and thee:Have at thee, coward!

(They fight)

(Enter several of both Houses, who join the fray; then enterCitizens with clubs)

1 CitizenClubs, bills, and partisans! strike! beat them down!Down with the Capulets! Down with the Montagues!

(Enter Capulet in his gown, and Lady Capulet)

CapuletWhat noise is this--Give me my long sword, ho!

Lady CapuletA crutch, a crutch!--Why call you for a sword

CapuletMy sword, I say!--Old Montague is come,And flourishes his blade in spite of me

(Enter Montague and his Lady Montague)

MontagueThou villain Capulet!-- Hold me not, let me go

Lady MontagueThou shalt not stir one foot to seek a foe

(Enter Prince, with Attendants)

PrinceRebellious subjects, enemies to peace,Profaners of this neighbour-stained steel,--Will they not hear--What, ho! you men, you beasts,That quench the fire of your pernicious rageWith purple fountains issuing from your veins,--On pain of torture, from those bloody handsThrow your mistemper'd weapons to the groundAnd hear the sentence of your moved prince--Three civil brawls, bred of an airy word,By thee, old Capulet, and Montague,Have thrice disturb'd the quiet of our streets;And made Verona's ancient citizensCast by their grave beseeming ornaments,To wield old partisans, in hands as old,Canker'd with peace, to part your canker'd hate:If ever you disturb our streets again,Your lives shall pay the forfeit of the peaceFor this time, all the rest depart away:--You, Capulet, shall go along with me;--And, Montague, come you this afternoon,To know our farther pleasure in this case,To old Free-town, our common judgment-place--Once more, on pain of death, all men depart

(Exeunt Prince and Attendants; Capulet, Lady Capulet, Tybalt,Citizens, and Servants)

MontagueWho set this ancient quarrel new abroach--Speak, nephew, were you by when it began

BenvolioHere were the servants of your adversaryAnd yours, close fighting ere I did approach:I drew to part them: in the instant cameThe fiery Tybalt, with his sword prepar'd;Which, as he breath'd defiance to my ears,He swung about his head, and cut the winds,Who, nothing hurt withal, hiss'd him in scorn:While we were interchanging thrusts and blows,Came more and more, and fought on part and part,Till the prince came, who parted either part

Lady MontagueO, where is Romeo--saw you him to-day--Right glad I am he was not at this fray

BenvolioMadam, an hour before the worshipp'd sunPeer'd forth the golden window of the east,A troubled mind drave me to walk abroad;Where,--underneath the grove of sycamoreThat westward rooteth from the city's side,--So early walking did I see your son:Towards him I made; but he was ware of me,And stole into the covert of the wood:I, measuring his affections by my own,--That most are busied when they're most alone,--Pursu'd my humour, not pursuing his,And gladly shunn'd who gladly fled from me

MontagueMany a morning hath he there been seen,With tears augmenting the fresh morning's dew,Adding to clouds more clouds with his deep sighs:But all so soon as the all-cheering sunShould in the farthest east begin to drawThe shady curtains from Aurora's bed,Away from light steals home my heavy son,And private in his chamber pens himself;Shuts up his windows, locks fair daylight outAnd makes himself an artificial night:Black and portentous must this humour prove,Unless good counsel may the cause remove

BenvolioMy noble uncle, do you know the cause

MontagueI neither know it nor can learn of him

BenvolioHave you importun'd him by any means

MontagueBoth by myself and many other friends;But he, his own affections' counsellor,Is to himself,--I will not say how true,--But to himself so secret and so close,So far from sounding and discovery,As is the bud bit with an envious wormEre he can spread his sweet leaves to the air,Or dedicate his beauty to the sunCould we but learn from whence his sorrows grow,We would as willingly give cure as know

BenvolioSee, where he comes: so please you step aside;I'll know his grievance or be much denied

MontagueI would thou wert so happy by thy stayTo hear true shrift--Come, madam, let's away,

--And she's fair

(Exeunt Montague and Lady)

(Enter Romeo)

BenvolioGood morrow, cousin

RomeoIs the day so young

BenvolioBut new struck nine

RomeoAy me! sad hours seem longWas that my father that went hence so fast

BenvolioIt was--What sadness lengthens Romeo's hours

RomeoNot having that which, having, makes them short

BenvolioIn love

RomeoOut,--

BenvolioOf love

RomeoOut of her favour where I am in love

BenvolioAlas, that love, so gentle in his view,Should be so tyrannous and rough in proof!

RomeoAlas that love, whose view is muffled still,Should, without eyes, see pathways to his will!--Where shall we dine--O me!--What fray was hereYet tell me not, for I have heard it allHere's much to do with hate, but more with love:--Why, then, O brawling love! O loving hate!O anything, of nothing first create!O heavy lightness! serious vanity!Mis-shapen chaos of well-seeming forms!Feather of lead, bright smoke, cold fire, sick health!Still-waking sleep, that is not what it is!--This love feel I, that feel no love in thisDost thou not laugh

BenvolioNo, coz, I rather weep

RomeoGood heart, at what

she's fair I love

BenvolioAt thy good heart's oppression

RomeoWhy, such is love's transgression--Griefs of mine own lie heavy in my breast;Which thou wilt propagate, to have it prestWith more of thine: this love that thou hast shownDoth add more grief to too much of mine ownLove is a smoke rais'd with the fume of sighs;Being purg'd, a fire sparkling in lovers' eyes;Being vex'd, a sea nourish'd with lovers' tears:What is it else a madness most discreet,A choking gall, and a preserving sweet--Farewell, my coz

(Going)

BenvolioSoft! I will go along:An if you leave me so, you do me wrong

RomeoTut! I have lost myself; I am not here:This is not Romeo, he's some other where

BenvolioTell me in sadness who is that you love

RomeoWhat, shall I groan and tell thee

BenvolioGroan! why, no;But sadly tell me who

RomeoBid a sick man in sadness make his will,--Ah, word ill urg'd to one that is so ill!--In sadness, cousin, I do love a woman

BenvolioI aim'd so near when I suppos'd you lov'd

RomeoA right good markman!--And she's fair I love

BenvolioA right fair mark, fair coz, is soonest hit

RomeoWell, in that hit you miss: she'll not be hitWith Cupid's arrow,--she hath Dian's wit;And, in strong proof of chastity well arm'd,From love's weak childish bow she lives unharm'dShe will not stay the siege of loving termsNor bide th' encounter of assailing eyes,Nor ope her lap to saint-seducing gold:O, she's rich in beauty; only poorThat, when she dies, with beauty dies her store

BenvolioThen she hath sworn that she will still live chaste

RomeoShe hath, and in that sparing makes huge waste;For beauty, starv'd with her severity,Cuts beauty off from all posterityShe is too fair, too wise; wisely too fair,To merit bliss by making me despair:She hath forsworn to love; and in that vowDo I live dead that live to tell it now

BenvolioBe rul'd by me, forget to think of her

RomeoO, teach me how I should forget to think

BenvolioBy giving liberty unto thine eyes;Examine other beauties

Romeo'Tis the wayTo call hers, exquisite, in question more:These happy masks that kiss fair ladies' brows,Being black, puts us in mind they hide the fair;He that is strucken blind cannot forgetThe precious treasure of his eyesight lost:Show me a mistress that is passing fair,What doth her beauty serve but as a noteWhere I may read who pass'd that passing fairFarewell: thou canst not teach me to forget

BenvolioI'll pay that doctrine, or else die in debt

(Exeunt)

Scene II A Street

(Enter Capulet, Paris, and Servant)

CapuletBut Montague is bound as well as I,In penalty alike; and 'tis not hard, I think,For men so old as we to keep the peace

ParisOf honourable reckoning are you both;And pity 'tis you liv'd at odds so longBut now, my lord, what say you to my suit

CapuletBut saying o'er what I have said before:My child is yet a stranger in the world,She hath not seen the change of fourteen years;Let two more summers wither in their prideEre we may think her ripe to be a bride

ParisYounger than she are happy mothers made

CapuletAnd too soon marr'd are those so early madeThe earth hath swallowed all my hopes but she,--She is the hopeful lady of my earth:But woo her, gentle Paris, get her heart,My will to her consent is but a part;An she agree, within her scope of choiceLies my consent and fair according voiceThis night I hold an old accustom'd feast,Whereto I have invited many a guest,Such as I love; and you among the store,One more, most welcome, makes my number moreAt my poor house look to behold this nightEarth-treading stars that make dark heaven light:Such comfort as do lusty young men feelWhen well apparell'd April on the heelOf limping winter treads, even such delightAmong fresh female buds shall you this nightInherit at my house; hear all, all see,And like her most whose merit most shall be:Which, among view of many, mine, being one,May stand in number, though in reckoning noneCome, go with me--Go, sirrah, trudge aboutThrough fair Verona; find those persons outWhose names are written there, (gives a paper) and to them say,My house and welcome on their pleasure stay

(Exeunt Capulet and Paris)

sadness who is that

ServantFind them out whose names are written here!It is written that the shoemaker should meddle withhis yard and the tailor with his last, the fisher withhis pencil, and the painter with his nets; but I amsent to find those persons whose names are here writ,and can never find what names the writing personhath here writ I must to the learned:--in good time!

(Enter Benvolio and Romeo)

BenvolioTut, man, one fire burns out another's burning,One pain is lessen'd by another's anguish;Turn giddy, and be holp by backward turning;One desperate grief cures with another's languish:Take thou some new infection to thy eye,And the rank poison of the old will die

RomeoYour plantain-leaf is excellent for that

BenvolioFor what, I pray thee

RomeoFor your broken shin

BenvolioWhy, Romeo, art thou mad

RomeoNot mad, but bound more than a madman is;Shut up in prison, kept without my food,Whipp'd and tormented and--God-den, good fellow

ServantGod gi' go-den--I pray, sir, can you read

RomeoAy, mine own fortune in my misery

ServantPerhaps you have learned it without book:but I pray, can you read anything you see

RomeoAy, If I know the letters and the language

ServantYe say honestly: rest you merry!

RomeoStay, fellow; I can read (Reads)'Signior Martino and his wife and daughters;County Anselmo and his beauteous sisters; thelady widow of Vitruvio; Signior Placentio andhis lovely nieces; Mercutio and his brotherValentine; mine uncle Capulet, his wife, anddaughters; my fair niece Rosaline; Livia; SigniorValentio and his cousin Tybalt; Lucio and thelively Helena'A fair assembly (Gives back the paper): whither should theycome

ServantUp

RomeoWhither

ServantTo supper; to our house

RomeoWhose house

ServantMy master's

RomeoIndeed I should have ask'd you that before

ServantNow I'll tell you without asking: my master is the greatrich Capulet; and if you be not of the house of Montagues,I pray, come and crush a cup of wine Rest you merry!

(Exit)

BenvolioAt this same ancient feast of Capulet'sSups the fair Rosaline whom thou so lov'st;With all the admired beauties of VeronaGo thither; and, with unattainted eye,Compare her face with some that I shall show,And I will make thee think thy swan a crow

RomeoWhen the devout religion of mine eyeMaintains such falsehood, then turn tears to fires;And these,--who, often drown'd, could never die,--Transparent heretics, be burnt for liars!One fairer than my love the all-seeing sunNe'er saw her match since first the world begun

lov'd love a

BenvolioTut, you saw her fair, none else being by,Herself pois'd with herself in either eye:But in that crystal scales let there be weigh'dYour lady's love against some other maidThat I will show you shining at this feast,And she shall scant show well that now shows best

RomeoI'll go along, no such sight to be shown,But to rejoice in splendour of my own

(Exeunt)

Scene III Room in Capulet's House

(Enter Lady Capulet, and Nurse)

Lady CapuletNurse, where's my daughter call her forth to me

NurseNow, by my maidenhea,--at twelve year old,--I bade her come--What, lamb! what ladybird!--God forbid!--where's this girl--what, Juliet!

(Enter Juliet)

JulietHow now, who calls

NurseYour mother

JulietMadam, I am here What is your will

Lady CapuletThis is the matter,--Nurse, give leave awhile,We must talk in secret: nurse, come back again;I have remember'd me, thou's hear our counselThou knowest my daughter's of a pretty age

NurseFaith, I can tell her age unto an hour

Lady CapuletShe's not fourteen

NurseI'll lay fourteen of my teeth,--And yet, to my teen be it spoken, I have but four,--She is not fourteen How long is it nowTo Lammas-tide

Lady CapuletA fortnight and odd days

NurseEven or odd, of all days in the year,Come Lammas-eve at night shall she be fourteenSusan and she,--God rest all Christian souls!--Were of an age: well, Susan is with God;She was too good for me:--but, as I said,On Lammas-eve at night shall she be fourteen;That shall she, marry; I remember it well'Tis since the earthquake now eleven years;And she was wean'd,--I never shall forget it--,Of all the days of the year, upon that day:For I had then laid wormwood to my dug,Sitting in the sun under the dove-house wall;My lord and you were then at Mantua:Nay, I do bear a brain:--but, as I said,When it did taste the wormwood on the nippleOf my dug and felt it bitter, pretty fool,To see it tetchy, and fall out with the dug!Shake, quoth the dove-house: 'twas no need, I trow,To bid me trudgeAnd since that time it is eleven years;For then she could stand alone; nay, by the roodShe could have run and waddled all about;For even the day before, she broke her brow:And then my husband,--God be with his soul!'A was a merry man,--took up the child:'Yea,' quoth he, 'dost thou fall upon thy faceThou wilt fall backward when thou hast more wit;Wilt thou not, Jule' and, by my holidame,The pretty wretch left crying, and said 'Ay:'To see now how a jest shall come about!I warrant, an I should live a thousand yeas,I never should forget it; 'Wilt thou not, Jule' quoth he;And, pretty fool, it stinted, and said 'Ay'

Lady CapuletEnough of this; I pray thee hold thy peace

NurseYes, madam;--yet I cannot choose but laugh,To think it should leave crying, and say 'Ay:'And yet, I warrant, it had upon its browA bump as big as a young cockerel's stone;A parlous knock; and it cried bitterly'Yea,' quoth my husband, 'fall'st upon thy faceThou wilt fall backward when thou com'st to age;Wilt thou not, Jule' it stinted, and said 'Ay'

JulietAnd stint thou too, I pray thee, nurse, say I

NursePeace, I have done God mark thee to his grace!Thou wast the prettiest babe that e'er I nurs'd:An I might live to see thee married once, I have my wish

Lady CapuletMarry, that marry is the very themeI came to talk of--Tell me, daughter Juliet,How stands your disposition to be married

为什么我眼里常含泪水，因为我爱这深沉的土地"，这是作家艾青先生的一句名言。我是出生并生长在农场的知青后代，虽说现在已在城市里工作。可我仍对农场或兵团人有着一份天生的感情。也为祖国农场近年来的可喜变化感到骄傲与自豪。

　　 尽管由于特定的时代、特定的原因，农场中的绝大多数人离开了这块土地，但是他们始终把这里当作自己的第二故乡。但直到目前，仍有很多的知青和广大农工们和他们的后代工作在垦区各条战线的岗位上，为祖国的建设奉献自已的一生。

　　 透过漫长的历史烟尘，我们可以看到，农场人或兵团人是一个独特的群体。它并非是由本地人口自然繁衍形成的，也不是一个民族、一个地域人口的简单迁徒。在农场和兵团的开发史中，除西藏、港澳台外，来自祖国各地的转复军人、支边青年、科技人员、知识青年，前赴后继，一波又一波地向这片古老的荒原发起集团式的冲击！并最终征服了它。在十分艰苦恶劣的环境下，在异常复杂曲折的斗争中，靠什么将如此众多地域、众多层次的人群，凝聚在一面拓荒的旗帜下。他们依靠的唯有继承人民军队光荣传统、高扬创业与奉献旗帜的农场精神。

　　 对于生活在农场的人来说，有的功成名就，大多却也是默默无闻。但无论是贫与穷或富与贵，这些早年来自五湖四海的人们在第二故乡都有着共同的眷恋着故土的情结和思念家乡的情愫。

　　 正如歌词所唱的“到哪里，到哪里，流水啊请问你流浪到哪里？只有你，只有你能够了解流浪的孤寂。看不完人生的风雨，走不完沉重的步履。我那情深千万缕，总会出现在梦里，出外的人心碎在夜里。有成功，有失败，有泪水的岁月里，异乡梦留下一片空虚。。。”

　　 同时，历史上由于战争,饥荒,兵患,匪祸等因素,各省贫困地区的乡民外逃的很多的他们当初被迫离开多年生活的家乡故土，开始了在异乡辛酸而无奈的漂泊与打拼生活。这些外出的人在当时也是一个很大的数字，他们多分布在湖北省的江汉平原境内的数百个大小农场及新疆和黑龙江北大荒等省份的生产建设兵团或国营农场。

　　 如今，当年外逃的人们早已在外地安家，他们所到之处，虽说并不富裕，有的一生从事着繁重的体力劳动，有的今生却再也没回到他们的故乡。有的功成名就，有的仍是默默无闻，可他们仍思念着故乡。但他们与所在地的人民一道建设着自己的第二故乡，溶入了当地的社会，尤其是他们的后代，语言风俗等早与当地人无异，可他们的祖籍仍是外省。他们的吃苦耐劳，真诚善良坦诚，与世无争的等品格也赢得了当地人的尊重。

　　 或许在家乡，这些早年离家的人，由于离开了家乡，家乡人已把他们当作外省的蛮子。而在异乡，虽说他们早已溶入当地人的生活，可外省人却仍把他们当作异乡人。可有谁知道，他们这些早年离开家乡人的辛酸与无奈：在异乡，除了要养活自家老小，还在顾及远在家乡的亲朋好友。

　　 我幼年在农场时亲眼看到，每逢过节时回老家探亲时，有一个瘦弱的河南中年妇女，携带着自己的孩子，回老家河南时，穿着破烂，却背着几袋子大米等物，坐轮船，赶火车，换汽车，欲回家乡，扛着这么多的东西，又带着孩子，真不知道，她累不累？可她脸上分明当时却透露出回乡时的喜悦之情。她眼里流露出希望和喜悦，可她的肩膀却不知道又沉载着多少负担与理想。

　　 历史上，中华民族也一直是一个多灾多难的民族但中国劳动人民天生的吃苦耐劳,真诚善良坦诚的等中华民族优秀品质,也是有目共睹的。

　　 之前，有些回城的知青也写过知青的文学。可作为知青的后代，我个人认为他们所写的“灰涩”面较多。毕竟这已成为历史和过去。何必牢骚满腹，一蹶不振呢？要知道，知青们累了还可以喊苦，叫累着并回城。而这些当时并没回城、至少仍生活在这儿的知青们和广大生活在农场和兵团的大量农工们及其后代呢？要知道，当时知青们所经历的的生活，只是中国农村大地上几亿劳动人普通的生活而已。

　　 所以，作为一名生活在农场的知青的后代，我想通过这部作品来写一写我们生活平凡的广大生活在祖国各地的农场人或兵团人。这是一部亲情、平民、和怀旧的言情大片。在文中，我并没刻意去说农场或兵团的好，只是通过剧中人物来真实反映农场人真诚善良坦诚的吃苦耐劳等品格。争取打造一部影视励志言情歌舞大作,从而无形中,也力树知青儿女和广大农工的后代在平凡的生活中，在异乡和家乡所做出杰出的成绩。

　　言情歌舞励志电视连续剧——《我的家乡是农场》

　　 二十二集电视连续剧《我的家乡是农场》 通过对剧中在农场的知青男女主人公及他们的父辈在面对利益、事业、爱情纠葛所产生的矛盾冲突，阐释了执著，得失之间的辨证关系和家乡那中割舍不断的乡情。剧中通过细节描写，展示了感天动地的母女情、母子情、兄妹情、姐弟情、邻里情、恋人情、同学情、战友情、故乡情等。通过对母亲蓝秀妮，马丽，乔小俐等人物的刻画，作品所蕴涵出的人间真情无不感人至深，催人泪下。。。。。。

　　 俗话说，只要中国有人的地方，就会有农场。作品一方面反映出农场人勤劳、吃苦、憨厚、真诚、善良的美德，也反映了农场不同时期的变化；同时通过对乔家造成的悲剧描写揭示出悲剧形成的原因是特定时代的产物；而乔家几代人的悲欢离合的描写，更表达了海峡两岸人民盼望祖国能早日统一的急切心情。

　　 本剧以“情”贯穿始终，格调高雅，洋溢着青春的热情和激情，讴歌了人间至真至上的真情。

　　 本剧故事以乔家三代人的悲欢离合情感发展为主线，交叉发展着另外几条男女情感纠葛的副线，来反应不同时期的真情的独特性。剧中主要人物关系复杂，情节曲折，引人入胜。本剧剧中人物性格鲜明突出，各有所异。在故事情节发展中，各自表现出爱憎分明，优劣所异的个性。

　　 本剧几段感情的交织，细腻的情感刻画，跌宕起伏的剧情发展，再加上精良的制作，就是一部让人看了不得不感动、亢奋、为之流泪的言情剧。

　　 本剧定位为：由青春偶像的演员来演绎，幽默处机智诙谐、感人时荡气回肠、煽情时不忘发人深思的言情剧。剧中有大量在外知青的思乡感情、知青生活积极的一面、农村中学时代及大学时代的校园纯真感情及爱情的描写以及大量的红色经典歌舞片断和时代气息的元素、广播电视等吸引众人眼球的场面。

　　 本剧情节曲直有度、亦张亦弛，言情细腻委婉，语言具有时代感，根据不同的人物性格而各具特色，力争做到雅俗共赏、老少咸宜。力争打造成一部亲情、平民和怀旧的感情戏、红色经典歌舞、红色经典歌舞和军旅戏的言情励志大片。

　　 剧中年度跨越：1948——1996