偷窥与引诱,一对成年男女被压抑状态下的游戏就这样在舞台上渐渐展开。偷窥,正是男主人公董生的大部分戏剧行动,引诱则是女主人公意识到被偷窥后作出的反应。偷窥与引诱,显然便成为戏剧人物关系以及戏剧动作与反动作的有效概括,换一句话可以说,偷窥与引诱在这个戏里,构筑了男性与女性之间看与被看的关系格局和动作系统。 李氏青春美艳,行将就木的彭员外深恐李氏在他死后红杏出墙,临终授命于董秀才董四畏,令他日夜窥探李氏行止,并每月到墓前禀告详情。男女主人公从头出“临终嘱托”就被放置于看与被看的关系中。起初,二人显然都对拘囿于这种关系格局深感不快,董生秉守着君子言而有信的道德信念 Voyeurism and lure, a pair of adult men and women were suppressed under the game so gradually unfolds on the stage. Voyeurism, it is most of the actor Dong Sheng’s dramatic action, lure is the heroine aware of peeping response. Voyeurism and seduction, apparently became the drama of the drama and action and reaction effectively summarized, in other words can be said that voyeur and lure in this movie, to build between men and women to see and be seen the relationship between the pattern and action system. Li’s young and glamorous, approaching the wood Peng members fear that after his death, Lee’s out of the woods, the death row was ordered Dong Xiuai Dong Siwei, making him day and night glimpse of Lee’s behavior, and to the tomb of the monthly report details. Male and female protagonists from scratch “Hospice ” was placed in the relationship between looking and being watched. At first, the two apparently were deeply unhappy with this pattern of detention and Dong Sheng upholds the moral belief of the gentleman