titainred
July 23rd, 2010

有關於「偽」

究竟什麼是「演」?什麼是「戲」?
演員與角色的一個溝通,是對話,還是獨白?演員與角色對話,是故事以內還是故事之外?角色如何成為一個人物,這個人物若然沒有外在的故事,環境的存在,這個戈物能抽誰於這個建立他這個環境而獨立地生存?
怎樣才是有「戲」?

她對我說其實做戲的時候,沒有想這麼多。

最近不若而同的面對一個字「偽」,從蘇偉貞【時光隊伍】的「偽旅人」,「偽家庭」,到朱天心的【初夏荷花時期的愛情】的「偽辭典」,「偽時空」;「偽」這個觀念帶著冷冷的冷感之餘,又那點哀愁;是那種看懂了世情,只有苦苦作假,來使世界和平。遇著這回女子的筆和字,她們的哀與透,已經比祖師奶奶去得更遠了。她們老了,才寫得出這樣的冷豔,她們使中文字從沒這般好看。我只有慨嘆,她們之後,後繼無人,無人能寫。

從來女子善於,也勇於弄假;因為女子從來都知道沒有東西會永恆不變。年紀越大,變化越多,保留不住。只見手指的皮厚了,光滑了。是因為變,更加明白作假。
朱天心與蘇偉貞筆下的作假,不是弄假這麼簡單,而是面對現實的一種反思與觀念。互相「偽」造一點生活情趣,能使雙方互相扶持多十年。「偽」造一點足跡,好記錄一點歷史,再冠上一個名字,使這旅程有一個好聽的名目,再記錄下來。

女子熱於表演,演的與生活又如何的分割,又如何的同軌?
「偽歷史」,「偽旅程」
女子善於,也懂於「偽」,因為她們知道自己有能力成為敍事者,而敍述他者的生活,使他者成為她們的言說工具,她們在懂「偽」之下,以「偽」來表演他者,他者的描述是主觀,而自己則非重心。「偽」不是虛烏之偽,而是懂非真,自說這是「偽」其實帶著真心。

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December 16th, 2009

Side Effect

There is a humming in my body: is that my body speaking to me? Am I of my body, or is my body of me? There is a sight of my body in the mirror: but a distance between my movement and that of the reflection. When I move, I lose sight of myself, and my reflection recedes into the distance. Merleau-Ponty would have us believe our movements “dovetail” into one another, but the movement also exposes itself to a lacuna, a black horizon. My movements are swallowed by my body. When I lie on my bed at night, my body still moves, and although I am flat on my back, I feel myself topple into the ground beneath.

– Dylan Trigg, ‘Abjection‘, Side Effects, 2009.
by Titainred | Posted in 學習, 故事, 無器官身體, 綿花, 閱讀 | No Comments » |
March 29th, 2009

Proust et les signes (2)

Interpreting has no other unity than a transversal one; interpreting alone s the divinity of which each thing is a fragment, but its “divine form” neither collects nor unites the fragments, it carries them on the contrary to the highest, most acute state, preventing them from forming a whole. The “subject” of the Search in finally no self, it is that we with out content that portion out Swann, the narrator, and Charlus, distributes or selects them without totalizling them.

Cells and Vessels, Proust and signes, p.128, Delezue

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March 29th, 2009

Proust et les signes (1)

It is no longer a matter of saying: to create is to remember – but rather, to remember is to create, is to reach that point where the associative chain breaks, leaps over the constituted individual, is transferred to the brith of an individuation world. And it is no longer a matter of saying: to create is to think – but rather, to think is to create and primarily to create the act of thinking within thought. To think, then, is to provide food for thought. To remember is to create, not to create memory, but to create the spiritual equivalent of the still too material memory, to create the viewpoint valid for all association, the style valid for all images. It is style that substitutes for experience the manner in which we speak about it or the formula that expresses it, which substitutes for the individual in the world the viewpoint toward a world, and which transforms reminiscence into a realized creation.

Antilogos, Proust and signes, p.111, Deleuze

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December 29th, 2008

普魯斯特

就時間和記憶的議題上,普魯斯特時常與亨利.柏格森 (Henri Bergson, 1859-1941)相提並論。柏格森是普魯斯特的表姻親,但是這層關係並無法直接證實兩者在思想上的承襲關係;此外,雖然普魯斯特在大學旁聽過柏格森所 教授的課程,並且聲稱自己是柏格森的弟子。但是如果我們就此推論普魯斯特是柏格森主義者未免太過武斷,而這樣的推論也在普魯斯特自己的筆記中遭受辯駁(沈 志明,1997,p.308)。

就時間來看,柏格森所主張的是「綿 延」(durée)概念,認為存在是一個持續不段的時間過程;普魯斯特小說中的時間則是非連續性的,並且以空間的形式呈現。普魯斯特的時間是「被分割成段 的,甚至是呈碎片狀的,只是由於有了不同的空間,相似的感覺以及藝術創作活動,時間的碎斷才有了重新揉合為一體的可能,進而超度成為過去、現在和將來渾然 難分的 “永恆的時間”」 (張寅德,1992,p.71)。

就記憶來看,柏格森認為有兩種記憶的類型, 一種是「習慣記憶」(la souvenir-habitude);另一種是「形象記憶」(la souvenir-image)。前者是指主體對於事物的內化過程,而能不假思索地喚回對於事物內容的記憶;後者則是主體對於接觸事物時第一印象的影像記 憶之浮現。普魯斯特則是將記憶區分為「自主回憶」(la mémoire volontaire)與「非自主回憶」(la mémoire involontaire)。前者是指主體透過理智的思考與意識的運作,拼湊過往的記憶;後者則與意識無關,主體由於感官的刺激,腦海自然湧現對於過去事 物的瑣碎記憶。普魯斯特小說第一卷《在斯萬家那邊》中,敘事者對於童年生活回憶的陳述即是理智與意識運作之產物,即是「自主回憶」;而敘事者透過小瑪德蓮 娜蛋糕的味覺,所引發對於昔日貢布雷生活的片段影像便是普魯斯特所說的「非自主回憶」。
意識流小說的先驅—馬塞爾.普魯斯特

國立暨南國際大學外國語文學系碩士班研究生    毛彬權

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