Tuesday, February 13, 2007

今晚2 kolegas 看演出。见伟棠疏影。更想回家。
今天演出的是两高大老外。Joel Grip来自瑞典,玩低音大提琴。David Coulter,音乐家,艺术工作坊主持人,导师,也为舞蹈戏剧等配乐。

Joel Grip 玩大提琴,前面提过了。他的即兴演出对大提琴的榨取令人印象极深:用弓拉,弹少不了,在弦上放鼓棍,小玩具(其实我看不清那是什么)敲打。。。。。。破坏性声音把大提琴原本经过设计的线条破坏,并同时创造。号角跟嘶鸣使进攻更为复杂,但无伤其直观性。不少即兴艺术家都着重理论的颠覆性多于艺术的直观部分,即令艺术之所以为艺术,而不是哲学或着数学的成分,听Joel Grip 的时候却人人更注意那些直观的体验,甚于理论上的摄收。看他演出,有时候觉得自己是个磬,声音转在外面,里面空心共鸣,四周慢慢长出檀城。

David Coulter 玩口弦,吹拖把,还有发出卡通片里的碎步声的小玩具,活像卖玩具有热爱玩具的小贩。台上滑稽的声音跟台下屏息的凝神成反差,什么时候我们可以轻轻松松感受艺术呢?

见一红衣妇,作慵懒性感状,样貌激似郑中基,笑死。

Thursday, February 08, 2007

田园之死

《田园之死》(pastoral hide-and seek) 1974 (又译:〈死在田园〉/〈死者田园祭〉
导演: 寺山修司 (Sunji Terayama)

《田园之死》 是寺山修司五部长片之一,是新手观其电影的入门课。片中华丽的视觉隐喻流溢,碎片般的情节,穿插期间的古怪人物(马戏团里的空气女,侏儒,全身披黑袈裟,带海盗眼罩的白面老妇,硫磺味弥漫的恐山,化浓妆的小孩等),种种意象搭构出寺山修司的世界,跟寺山修司的整个电影系列组成庞大的风格化异色空间。

不少人看过《田园之死》 (又译《死在田园》/《死者田园祭》)后均认为其为寺山的自传体作品,除了以第一人称作为陈述角度外,戏中主角(以成人和少年两种姿态出现)与寺山修司同月同日生(同为12月10日,但寺山修司生于公元1935年,主角“我”出生年份则为昭和49年,即公元1974年,亦即该片拍摄年份); 寺山修司在日本青森县出生,戏中主角的出生地是位于青森县,有日本三大灵场之称的恐山(电影里主角称自己的出生地---恐山地处东京市)。种种非巧合的安排,证明寺山修司欲一借电影改写自己的历史而重生的意图。故此,解读此片的时候,不少人会堕入以作者生平为阐释单一切入点的圈套,出色的电影随即成了作者经验(empirical)生活的副线,意难平或者有病呻吟,戏里的肆意的意象和诗意都沦为对作者来得太迟的抱怨的附庸。

艺术作品一如艺术家之儿,离开子宫的幼儿已然是独立个体,除了被伦理强化的血缘关系,双亲跟后代其实没有什么实际的联系。孩子不是成人的附属,更不是父母共同投下的影子。解读(虽然所有阐释都是误读)作品如果只取作者为本的角度,难免减损作品的价值----作品的价值就是的每次阐释的内容,每一种解读都赋予作品新的生命。我不否定寺山修司欲以〈田园之死〉来表现昔日屈服于母亲权威下迟熟的反抗,继而获得重生的,但寺山修司的想法并不是诠释的目的,而且这观点在云云有关寺山修司的评论已被多番提及,更有有心人以寺山修司生平对号入座,把电影各元素与寺山生平的经验事件等同,把寺山多彩诡奇的想像力拉低到生活牢骚的水平,艺术里的直观成分亦被完全消去,这非我所愿。

再看田园之死

电影梗概:“在青森县恐山山脚下的小村里,有一位与母亲两人相依为命的少年(”我“)。少年暗恋着嫁入邻家的女子。邻居是地主,婆婆统治家里的一切,女子的丈夫则是个软弱的中年男人。对少年来说,生活中最开心的事情是去见恐山的灵媒,听父亲给他的传言。一天,一个马戏团来到村里,少年从那里了解到外面的大千世界。心生向往的少年准备出村,邻家的媳妇得知后要与少年同行。然而那媳妇却没有赴约,等待的少年独自在原野上入睡……画面突然转到试播室,几个制作人员和评论家们正在观看此片,突然,剧中的少年开门进来,指出电影过度美化了那段日子,于是开始讲述真正的过去……’ (转载自www.mtime.com)

反抗权威的败北

寺山修司电影里对权威的反抗极为明显,如在实验短片《番茄酱皇帝》里小童追杀成人,《再见方舟》近亲表兄妹不顾坚固的贞操带的阻隔,坚持尝试做爱,片中人物对权力象征权力实体的颠覆意图都非常明显。这些露白的反抗行动是寺山修司电影的重要课题。对权威的挑战在《死在田园》展示为弑母意识。主角想借对记忆的操控,让少年时代的自己杀掉母亲,事与愿违,弑母计划最后失败。

弑母计划是对母亲此权力/权威象征和实体的挑战。但何谓权力/权威?权力并非由上而下的,权力是弥散的:权力并不是由在上者的创造,权力得以成就,有赖所有参与者(包括在下者)的共谋,而作为共谋者,在下者的权力就是作为社会共谋的权力;权力是一种力量关系,需要两端的支撑。所以死在田园的主角弑母失败,不单因为受制与社会伦理的羁绊,而是自己还没有脱离作为权力共谋的脚色,主角一厢情愿地企图抹走权力实体或者象征带来的阴影,根本不能切断权力力量关系的纽带,反而越踩越深。这样的反抗一如萨德对神的亵渎,一切最后只是徒劳。

寺山修司的时间

无论在寺山的电影,还是在他主持的《天栈屋敷》话剧团的作品里,时间的象征和隐喻无处不在:《再见方舟》内失去时间的村庄;舞台剧由真人扮演的巨钟,或者,〈田园之死〉主角母亲收集的破钟堆。形形色色,表报不同时间的时钟,没有提醒人时间,相反,它们让人忘掉时间。时钟不但是象征,更是实际工具,令量化客观时间的统一结构可以复印在世界之上。至少是人所认知的世界,之上。

客观时间是我们所熟悉的时间,三点半,美国比中慢,十三小时,一分钟等同六十秒。。。。。。这都是被普遍默认的,跟本真时间对立的派生概念。客观时间也是”时间对我们显现为各个当下,各个现在的次序”“这些现在可以在某写发生事情的时段上被计数”,这种概念为时间的量化和一体化提供了可能性。相反,本真时间没有经过任何概念的干扰,是本原地向人展示的时间。本真时间就是我们的此在,就是我们的主体性,那是真正的自我,而非透过线性时间里,(观察他者得来的)拉康的镜象自我。

〈死在田园〉主角母亲尝试把自己的儿子(少年时代的“我”)困在她的时间里,此举跟客观线性时间的霸权如出一辙。唯压力越大反抗越大,主角为古灵精怪的马戏团所吸引,决心逃离母亲,离开村子过新生活,最后他阴差阳错失去了童贞。客观时间象征----母亲的时钟堆-----渐渐远离的同时,少年手上多了一只象征本真时间的手表。比起弑母此类对某一权力对象的颠覆,重新阐释时间并以此建立主体性是更为彻底的革命。

除了控制戏中人的时间,〈田园之死〉也操控观者的时间。电影开端小朋友玩躲猫猫,原本的小玩伴忽然变成大正年代打扮的诡异人物,电影结尾主角跟母亲在故乡家中,刹那间四面墙倒下,主角暴露与东京繁华的街头,还有电影中空气女的呻吟,系在殉情男女身上的红线,鬼火般飘浮的日本老童谣。。。。。。这些感官异觉化(视觉和听觉上)不啻是寺山修司强烈风格特征,也是延长艾柯(Umberto Eco)在〈优游小说林〉里述及的阅读(观看)时间的技巧。对于电影和书本里寻常的物事和情节,我们会用在现实中早已熟知的经验/取自经验的逻辑推断,加快阅读时间。面对寺山修司精心布局的奇形怪状,既有逻辑无用武之地,观众只好费尽心神寻找当中的意蕴,或者象我那样,尽情享受日本cult 片鬼才预备的感官盛宴。如是者,观众所经验的时间不是放片的102 分钟,而是他们经验的(empirical), 迷路的时间。


记忆的不可信性

在阳光灿烂的日子(或原著《动物凶猛》)里,马小军的记忆处处出错,到后来甚至黑白不分,我们就知道记忆的不可信。记忆隐恶扬善,只保留对自己有利的叙述,甚至对你作出彻底背叛。《死在田园》的“我”以为可以驾驭记忆,并以这种自信武装自己回到故乡恐山。可惜,当他跟昔日年轻的自己开始对话,少年主角马上揭露成年主角美化了过去,记忆本是一连串谎言。记忆就是这么不可靠。无奈的是,我们需要从记忆抽取经验来建立自我的主体性和应付生活上的决定。记忆是每个人自我的基础,可是一个人挑选可以进入其记忆的体验时,往往因为种种原因而歪曲记忆,作出对自己的刻意误导。戏中主角为了拍电影,美化了自己跟邻家美妇就即为一例。

俳句

寺山是俳人,在〈田园之死〉里,俳句俯拾皆是,有人理解其所为是对美国强势文化的抗议。对此我不承认也不否定。俳句的节奏是跟日本人的呼吸非常吻合的,再好的文笔,也只可以翻译俳句书面的意思,但不可能翻译俳句的呼吸。田园之死的俳句表示了艺术的直观成分,那些部分,一如禅言,同为不可说,不可说。我没有大道理,只是任何的解释读不及无法解释的呼吸,那么有趣。

在田园之死的流程里,主角不断与权力短兵相接,不断重建主体性。那些我们永无完结的游戏。

p.s.有人说寺山修司象费里尼(Federico Fellini),因为马戏团是他们作品的重要部分 也有人说寺山修司象柏索里尼(Pier Paolo Pasolini ),因为大家都有或隐晦或露白的性描写。

寺山修司就是寺山修司,只能是寺山修司。

Wednesday, February 07, 2007

PROSTITUTES' RAINDANCE

Prostitutes' rain-dance
" If the drought persists , the Chinese government officials will report the disaster to the emperor , and the emperor will ask prostitutes to perform a rain dance."
" Those Chinese prostitutes were divided into groups. All of them together sat down to sing and play music. One by one, each group of prostitutes would stand up and dance at the twelve points, offering a peculiar performance; after each group finished, they would leave the stage for the next group, which would writhe and perform for the spirits." Anyone could predict what would happen if the rain still did not nourish the cracked ground after these rituals , everyone knew that if they were undiligent in their sacred task, the emperor would not release and send them back to their brothels with a rosy smile on his face. Everybody knew that, it was impossible, that was China in 1516. It was not hard to foresee that those prostitutes who disappointed their king would all be executed, but at least they would have the luxury of going to the scaffold instead of the other creatively ruthless devices for torturing. You know, there were thousands of prostitutes involved in the ceremony, so would take several years to execute all those innocent females if the emperor wanted to kill them by a wide range of torture varieties. That 's why the square was choked by the waves of women's cries of pain. Through those starving and sleepless days and nights , they could only wait, with their eyes like dried-up wells, opened to the air, for the rain to come.

This ceremony has never been recorded in a Chinese history book, at least not the official ones. Ibn Battuta 's observation provides additional evidence on China' s folk-religious history, and it is this missing part that attracts my attention. During ancient times, just like in any other agricultural Asian society, there were remains of primitive religion in Chinese society, no matter now influential Confucianism and other more advanced religions were. So what is the meaning of these relics of primitive religion? Research tell us that primal agriculture and witchcraft are siamese twins, so it is not surprising that we have found information indicating that there were such shamanistic ceremonies in a dynasty where technology existed that could allow a Chinese eunuch to sail from China to Africa. The link between primitive agriculture and shamanism is based on the unstablity imposed on early peasants by nature: hailstorms, hurricane, flooding ------any one of these disasters could devour millions of peasant s' lives and properties in one gulp. Dealing with the nature that was a provider as well as a foe , early Chinese peasants could only take a passive stance--------let supernatural powers control the uncontrollable nature. This idea was the fundamental concept of primeval Chinese religion, and was closely related to agricultural productivity.

Facing supernatural powers higher than nature , the primordial Chinese could not do anything other than beseech. So who was going to communicate with invisible spiritual beings?Through intuitive observations, early people decided to put emphasis on women. Through visceral observation, early people associated the reproduction of crops with that of human beings directly (in aboriginal matriarchal communities , males' role in breeding was considered not as important as females'). This is the reason why most primitive religious rites were performed by females.

Thus the role of women in rain-dance ceremony could explained by looking at shamanism, but not the choice of using prostitutes. One controversial explanation would be that prostitutes were not considered to be humans. In ancient China, sex-workers were commodified by the patriarchy as toys on men's palms. Transaction contracts for prostitutes and systematic operation of brothels widely legitimated this commodification from an ideological perspective to economic and legal aspects . Being defined as commodities and not humans, sex workers lost their right of blending into the social structure through ethical relations. Ancient Chinese prostitutes were nobody's wives, daughters, or mothers, and so they did not have any corresponding ethical identity in society. Instead, they were attached to brothels and men through repressive relations. Rulers and moralists were happy to assign unpleasant tasks to prostitutes, for instance, the rain-dance, since using women in the societal structure for such dangerous tasks would topple the entire Confucian society, which was formed by individual households.

As French philosopher Gilles Deleuze stated ,empirical history is strata of visible and narrative surfaces. Histories do not exist before they are expressed by narration , nor they are stuffed with visible elements. Narration and selection of discourses are crucial components of history. Chinese history is always utilized as an implement of moral-education ,hence , historians were advised to be cautious when they were going to put something involving prostitutes , who were considered to be immoral and also detrimental to the Confucian stability ,on a history book.

Prostitutes would only appear in Chinese history in two forms : as femme fatale , or an individual whose 'immorality" was watered-down by patriotism . Nobody that the prostitutes who sacrificed their bodies and minds or even lives ,were kind of patriots , but historians and media told us that stories of individuals are more striking than those of a group of people ( The news reports on the Middle-East rivals demonstrate how this theory works), in other words , one prostitute's stories are more eye-catching than the ones of a group of prostitutes , so , they are more effective in moral education and propaganda. That's why we could only see the evidence of those pitiful women's existence on a foreigner's travel note instead of our own history books.

Since ancient days, even on the ancient plain silks or inscribed-bamboo stripes that ancient history was inscribed upon, we cannot find many written records discussing the subject of prostitutes. There were many who were infatuated by prostitutes with snowy-white skin and willing to spend millions in gold on them. However, being treated as commodities, prostitutes were doomed to be muted, to be forgotten on purpose. There might be heavenly nourishment coming down after incantations floated by on chapped purple lips with fading rouge,there might be pomegranate-red wounds with air-pipes exposed blooming in the scorched square, but in any case the prostitutes' voices were forever buried. Only the marble lions on the squares would see them, with sleepless stone eyes.