At CU gate
2006年7月27日星期四
小剧场
“人生不过是一个行走的影子，一个在舞台上指手画脚的伶人，登场片刻，就在无声无息中悄然退下；它是个愚人所讲的故事，充满喧哗和骚动，却找不到一点的意义。”
----《麦克白》，第五幕第五场
我对于剧场的认识始于北京的小剧场和90年代先锋戏剧的繁荣。独立戏剧的兴起和以孟京辉为代表的小剧场导演的出现，给我的大学时代留下了许多难忘的回忆。后来上研究生的时候，买了《先锋戏剧档案》，感觉上就像是一个时代的结束，青春期的结束。第一次在青艺小剧场看《思凡》，因为到晚了，几乎是坐在舞台上的棉花堆里，听梅婷绵绵地诉说“小尼姑年方二八，正青春被师傅削去了头发”。后来在海淀影剧院看达里奥.福的《一个无政府主义者的意外死亡》，记得陈建斌所饰演的疯子，在舞台上疯狂的挥舞着他的棒球棍，砸碎了无数的圆白菜，溅了我们一身。“如果说《思凡》是导演孟京辉成名之作，那么《一个无政府主义者的意外死亡》将标志着孟京辉可能从一个所谓“先锋派导演”而成长为一个真正的戏剧革命者，这个戏从而也将成为本年度“最具价值”的一出“革命性”戏剧。该剧秉承了去年诺贝尔文学奖获得者达里奥·福原剧作中的喜剧性、革命性和游吟风格，并在剧中运用了大量的出人意料的戏剧语言，比如借用《茶馆》对话片断、插入了电影播放、导演解说歌唱等等”， 人们是这么评论的。孟京辉的话剧中，最喜欢穿插大段演员的集体朗诵，感觉像是希腊悲剧中的歌队，他们如是说：“我们是最低微的人，漂亮的谎言装饰不了我们的生活，我们整日暴露在阳光之下，天气预报对我们毫无用处。我要打扮得花枝招展，戴上小丑的面具走遍大地，任人笑骂，任人欢喜。因为我是人民，我无所畏惧”。当时的感觉就像是重新经历了1968年，经历了文化大革命，体验了我们从未体验过的革命狂风暴雨的洗礼，看到了所谓革命崇高的使命之下人性的丑陋。这种高峰体验，后来在观看布莱希特的《三毛钱歌剧》时后有幸再次重温。有一次北大剧社重排的《保尔.科察金》，在“黄色潜水艇”幽暗的地下室里，泪水也曾经肆意的流淌过。
所有的小剧场作品里，当时我最喜欢《恋爱中的犀牛》。因为彼时正陷于无可自拔的单相思，所以对于马路真诚地、致命地爱情，我给予彻底的、毫无保留的同情。当戏剧就要结束的时候，一块巨大的红色幕布从观众席的前面开始向后面传递，然后那幕布就像洪水覆盖了整个剧场。没有时间、没有空间，只有死去犀牛的叹息，在暗淡的灯光下回荡。当时我想，这就是所谓的回肠荡气的感觉吧。大学就要结束的时候，我们一起去看了萧红的《生死场》，作为对于大学的告别。生命的意义变成了简单的符号，复杂的人生变成了对于对错是非的简单判断。对于命运的抗拒，内在的和外在的压迫，所有的一切都化作强烈的呐喊。舞台上浓墨重彩的悲剧和我们即将开始的现实而琐碎的生活的对比，给我们的肩上加上了人生的第一个十字架。
若干年以后到了美国，疏远了戏剧，疏远了文字，更疏远了大学时代的自我。不读书成为了生活的常态，读书已经被读论文所取代。偶尔看看《纽约书评》，不过是为了盗窃别人的观点，好在谈话的时候作为自己的谈资。因为语言的障碍从文字走开，是迫不得已的选择。也因此转而投入歌剧和舞蹈的怀抱，因为这里的东西不需要语言这个媒介。虽然大都会歌剧院提供歌词的英语翻译，但是大多数时候对于剧情有了粗浅的了解以后，不必拘泥于每个字的理解，也能体会剧情的发展。
后来由于一个台湾同学的影响，渐渐迷上了弗拉明戈舞蹈，曾经到47街附近的舞蹈教室上课。弗拉明戈是一种身体的语言，它有自己的语法和节奏，与音乐相合但又不原宥于音乐的框架。好的舞者能够用自己的肢体带动观众的情绪，达到一种身体与灵魂合一的状态。
黑暗中的舞者
七月七日，到中央公园看西班牙的舞蹈团Noche Flamenca （黑夜的弗拉明戈）的表演。因为是免费的演出，所以不得不早早到东69街Rumsey Playfield的门口排队。因为不知道公园的限制，我们带了一车野餐的东西，最后把车留在门口，我们抱着大包小包的食品滚进了剧场。
根据介绍，“弗拉明戈的形成深受安达鲁西亚地区的摩尔人和犹太人的影响，还吸收了大量罗姆人（吉普赛人）的艺术元素。弗拉明戈音乐有50种，每种有自己的节奏模式。弗拉明戈舞蹈是一种即兴舞蹈，没有固定的动作，全靠舞者和演唱、伴奏的人以及观众之间的情绪互动。布拉斯·因方蒂（Blas Infante）在其著作《弗拉明戈的起源及其歌唱風格的秘密》（Orígenes de lo flamenco y secreto del cante jondo）中认为，“弗拉明戈”一词源于西班牙阿拉伯语 fellah mengu，即逃亡的农民。他认为在十五世紀基督教势力在安达卢西亚战胜了摩尔人之后，很多摩尔人农民混迹罗姆人中，以躲避被迫离乡背井或皈依基督教。他们假装是罗姆人，而得以继续他们的包括歌唱在内的传统。 最初弗拉明戈只包括弗拉明戈清唱，后来加上了弗拉明戈吉他的伴奏，有节奏地拍手或踢踏，和配以舞蹈。有时只有在吉他伴奏下的弗拉明戈舞，但歌唱仍是弗拉明戈传统的核心。近年来的伴奏乐器还包括一种敲击的木箱和舞娘手中的响板。当1492年卡斯蒂利亚女王伊莎贝拉一世和阿拉贡的斐迪南的军队征服了摩尔人在西班牙的最后一个堡垒格拉纳达之后，宣布采取宗教宽容政策，摩尔人和犹太人得以和平地归顺。然而后来異端裁判所说服了伊莎贝拉和斐迪南背信弃义，强迫摩尔人和犹太人要么皈依基督教，要么迁到非洲去。光在1499年就有五万摩尔人被迫接受洗礼。于是大量摩尔人、犹太人、罗姆人逃往乡下和山中。这就是弗拉明戈艺术形成的土壤。正因为如此，弗拉明戈艺术中有大量的悲愤、抗争、希望、和自豪的情绪宣泄。弗拉明戈歌唱者的自然接近沙哑的发音方式体现了这种艺术起源的环境，也影响了西班牙其他的艺术形式。 1774年弗拉明戈第一次见诸文字。1869年到1910年被称为弗拉明戈发展的黄金时期。在这一时期，在很多咖啡厅中有弗拉明戈表演。男、女舞步有了明显区别：男的注重步法移动，而女的侧重肢体语言。与此同时弗拉明戈吉他成了一种独特的吉他，还涌现出了专门为弗拉明戈谱曲的音乐家。” 每年都有不少西班牙裔的舞蹈顶级大师到纽约开班授课，这种课一般只对舞蹈教师开放，从美国各地来的教师跟随大师们提高技艺。课上一般都有现场的吉他伴奏和演唱，一丝不苟，收费昂贵。我的朋友虽然专业是金融数学，但是对这种舞蹈到了痴迷的地步，她自费到塞尔维亚去学习西班牙语和弗拉明戈舞蹈。我想对于她而言，舞蹈是她生命展开的另一种方式吧。 正在酒酣耳热之际，那台上的灯光突然暗了下去，突然有了一束强光打在舞台的右侧。银色的灯光下，站着一个满身黑衣的舞者。他在西班牙吉它的浅吟低唱中，像海边的岩石一样，经历着乐音绵延不断的冲刷。一转眼之间，这凝固的雕塑动了起来，随着琴弦的震颤和歌者暗哑的歌喉，那皮格玛利翁的身体在一霎那间获得了灵魂。观众长久的渴望获得了满足，他们的眼神迷离、灵魂出窍。那舞者完全不在乎观众的反应，他举手投足之间，与外部世界隔绝，仿佛只关照自己的内心。西班牙吉他铿锵的切音和舞者所踏出踢踏声相合，在天地间开启了另一个空间。转身、击掌、再转身 ，舞者干净利落的动作与斗牛士相仿。所不同的是，这里没有垂死的公牛，只有狂热的歌者和观众。在渐行渐快的节奏中，舞者像着魔一样舞蹈着，突然之间和乐音一起停止。观众错不及防，几秒钟的安静之后，掌声如潮水一般涌向舞台。
灯光再次暗下去，黑暗中吉他弹起原始而简单的节奏，仿佛上古时代祭典中的喃喃自语。随着一道柔和的光线，一个全身黑衣的歌手从椅子上站起来，以低回曲折的歌声回应吉他的追问。他年纪已长，长发在肩上颤动，随着歌声渐高，他富有表现力的双手伸向了无尽的黑暗。他的歌声宛如希腊悲剧中歌队的倾诉，伴随着安提格涅的脚步，在家庭的伦理和城邦的法理之间，从死亡走向死亡。那亡者的魂灵和歌声相互追逐，在空中、在耳中、在心中激起了强大的压倒一切的虔敬之情。乐音连绵不绝，哀婉动人，随着灯光渐暗，歌者也淡出了舞台。在乐音将断未断之际，舞台的另一侧出现了另一个歌者。他的声音与前者不同，强烈而嘶哑，好像黄土地上的信天游。他低着头，凝视着自己的双手，他苍老的手和他苍老的声音一样，带着时间的回忆。渐渐地，早先出场的歌手开始呼应这个老年歌手的祈祷。两个人一唱一和，像山谷中的回升，又像父子之间的交流。他们的歌声渐渐变得激昂起来，把安达卢西亚人几百年来编织的哀愁和苦闷，把他们日出而作日落而息的痛苦，用歌声释放出来。那乐音不仅震撼着我的心灵，而且让我在不知不觉中击起掌来。一种巨大的悲哀像无边无际的黑暗，沉重而密实地压在我的肩上。
第三段的表演中，歌者们和吉他手在舞台的右侧拍成了一列，女舞者出场。她先前和男舞者有一段精彩的双人舞，现在她一个占据了舞台。她红衣红裙，与男歌手的黑衣形成鲜明的对比，就像乔治亚.奥卡费的作品所描绘的沙漠上盛开的鲜花。弗拉明戈舞蹈讲究手、脚和心意的配合，基本功从脚上开始，之后再加入手的动作和响板。舞娘们的双脚就是她们的乐器，她们的灵魂，和她们征服世界的武器。她们的腰肢柔软，步履轻盈，在无声的世界中踩出一片乐音来。这个年华老去的舞娘真个称得上是舞者中的尤物，带着西班牙女郎与生俱来的风骚。吉他和个手击掌的节奏好像是对她的奉承，她一会儿仿佛在挑逗男歌手的情欲，一会儿又像是在拒绝求爱者的殷勤，跳着跳着，她渐渐失去了对与外部世界的兴趣，完全投入到音乐中去。在无穷的律动之中，时间和空间仿佛融会贯通在一起，过去、现在和未来都成了足尖点地瞬间的脆响。舞者最高的境界大概就是借助艺术出离日常的生活状态，摆脱或喜或悲的情感的轮回，挣脱对于现实世界的依赖和接触，跳出三界外，成为自由乐土的一员。心灵的自由宛若酒神迪奥尼索斯的癫狂境界，堪比悲剧高潮时的迷离瞬间。在那一刻，还有什么比这种体验更能唤起人对于存在的勇气？还有什么更能让我们肯定自己作为人而存在的价值呢？
起舞弄清影，何似在人间？
2006年7月26日星期三
Karl Marx on Franz Kafka's Metamorphosis (A PLAY)
FROM http://www.mala.bc.ca/~johnstoi/introser/marxonkafka.htm
Karl Marx on Franz Kafka's Metamorphosis
[This lecture is in the public domain and may be used by anyone, in whole or in part, for any reason, provided the source is acknowledged. This text is a slightly revised version of the original lecture in 1995, revised in November 2002]
For comments or questions, please contact Ian Johnston
Preliminary Note
The following text is a lecture given by Ian Johnston, playing the role of Karl Marx, in LBST 402, at Malaspina University College, on January 24, 1995. The lecture was part of a symposium on The Metamorphosis in which there were three other lectures—Anne Levitt played the role of the cleaning woman, Russell McNeil played the role of Friedrich Nietzsche, and Norm Cameron played the role of Sigmund Freud. The premise was that Nietzsche, Freud, and Marx were the three roomers in the Samsa household and thus had first-hand knowledge of the events in Kafka's story. The speech by Karl Marx was the last one in the series.
Marx's Remarks
Gute Morgan, ladies und gentlemen. My name is Karl Marx und ich bin today hier in front of you all in Liberal Studies standing because I believe you have all been reading that story which is Die Verwandlung (the Metamorphosis) called. This person, this oppressed member of the Lumpenproletariat here, this clearning woman, tells me that you are puzzled by the events in this parable and would like the truth of it to know.
If you want the only truth it is good that you ask me. For two reasons. First, as you know, because you have all my books been reading and studying, you are aware that only through die historische Materialismus, the historical materialistic enquiry, can the truth of any cultural phenomenon be properly kritische understood. This method of historical materialismus, as I have again und again und again in many books pointed out, is true because it is in the empirischen facts of science firmly grounded. I will have about that in a little while more to say.
The other reason why I have the truth of this event is that I was there. Jawohl. As a junge man I spent some time in Prague as a lodger at Charlottestrasse 33, and it was during that time that the young man of the house, a certain Herr Gregor Samsa, became an Ungeziefer (what you call a . . . umm . . . ja, a vermin, a cockroach). So in addition to possessing the only true method of kritische understanding, that is, die historische Materialismus, of which I am the world's leading authority, you have also my personal verification of the facts.
Now, it is true there were in that place at the time two other young men lodgers living: Sigmund Freud and Friedrich Nietzsche. Und I believe that they too have their versions of the events provided. I must, however, urge you to dismiss what they have had to say.
It nice to see that Siggy und Freddy again. We were in those days three wild and crazy guys. Ja. But they turned out badly. This Siggy, zum Beispiel, he was an okay Mensch as a young man, but he became totally exploited by the bourgeois society which paid him large sums of money to divert people's attention away from the class struggle.
This Siggy, you see, has spent his entire adult life sticking his dirty little analytical fingers into rich women's private fantasies und explaining everything that goes on in terms of their imaginary sexual gratifications or frustrations. What kind of a job is that for a real Mensch?
Und as for Freddy, a sad case. He was always erratic, but then he went and put all sorts of crazy theories into books which no one would read. Und after a lifetime of reading them to himself, because somebody had to, he went totally bananas. Ja ganz verruckt, off the verdammte wall. Und that was the first and last reliable critical reaction poor Freddy ever had to anything.
So, don't listen to them. Attend to the truth which I am going to proclaim. For the events of this story by a Herr Kafka are, as ich shall unmask, a clear warning to you all of what will happen if you do not to my works and my theories sufficient attention pay.
Gregor Samsa is turned into an Ungeziefer, a vermin. Was bedeutet das? What does that mean? The answer is, of course very clear. He becomes a vermin because of his work. The exploitative factors in the disgustingly oppressive bourgeois culture of his world rob him of his humanity, turn him into what is, in effect, a non-thinking and non-feeling machine to the point where he might as well be a vermin because he has long ago ceased to be human.
Zum Beispiel, you notice over and over, how Gregor has interior thoughts und reflections und some feelings, but these, as we see, are constantly buried under the most urgent concerns of meeting the next demand of the clock, the railway schedule, und his bosses. His job is to sell superfluous commodities all over the society, to promote the fetish of the market and thereby to sustain und maximize the profit of the owners. He does nothing in the day but work under the compulsion of others and he therefore has no control over his life, no human freedom. Though he hates he work, he has no option but to continue. He has become a mechanical extension of the bourgeoisie of late capitalism—the verdammte Schwein whose overthrow must be the next priority of die historische Prozess und of the intellectuals and working peoples who recognize that only through the overthrow of this bourgeois production scum can the proletariat be emancipated und die full utopian promise of the Aufklarung realized in the dimensions of historical time. Jawohl.
The family relationships mit Gregor have all been corrupted by the bourgeois mentality. You will remember, of course, what I had to say about that in Die Manifesto der Kommunistische Partei:
the bourgeoisie has torn away from the family its sentimental veil und has reduced the family relation to a mere money relation.
We see in the parable how for his parents Gregor is nothing else but a source of money to gratify their consumption of unnecessary goods like newspapers and fancy apartments where they can oppress the members of the classes lower than themselves by hiring maids und so fort. Once Gregor loses his cash value to his parents, well, then he ceases to be of interest to them. They shut the door on him. Und once he is dead, as good bourgeois parents they at once start thinking of the cash value of the remaining child—they want some hard long-term cash for her sexy young body.
Gregor is clearly almost totally verfremdet, alienated: he is powerless, his life is empty of significant meaning, he is socially isolated in a modern populous city und in the midst of his family, und he is self-alienated, radically cut off from his emotional centres. When he body registers these problems through dreams und various aches and pains, he represses that recognition in order to continue to function as a mechanical person.
The only act which Gregor freely chooses to do each day is to lock the door of his room at home or in a cheap hotel and to cut out and frame silly pictures of girlies from the magazines. If he is Samsa, then that is his Delilah—just one more commodity fetish on display for sale to the alienated people of the oppressed working class. Like Samson, Samsa is blind, and the Philistines have made sure that he will trouble them no more. They do not need some sexy real woman to cut off his hair and his strength, because the forces of production and advertising have lobotomized him. As a result of all this, Gregor's consciousness has been from the outside colonized by the guardians of the restless pursuit of bourgeois industrial capitalistische Profit.
I have, as you know, extensively on this same Prozess in my books written. Let me the enormous pleasure of reading Karl Marx once again for you provide:
. . . but men, developing their material production and their material intercourse, alter, along with this their real existence, their thinking and the products of their thinking. Life is not determined by consciousness, but consciousness by life.
So traumatish is this appropriation of Gregor's consciousness that his only hope in coming to terms with his transformation is that somehow the experts of the society—the doctor and the locksmith will somehow restore his humanity. Aber he has long since lost whatever possibilities for rich human life were available. Society has seen to it that he has no time, no inclination, and no financial stake in doing anything other than routine meaningless mechanical work.
So Gregor is clearly a victim of social oppression, of die historische circumstances of his culture und his transformation into a vermin a symbol of the radical dehumanization of life in modern capitalistische work.
This point becomes, ja, sebstverstandlich klar in many places. For instance, on the first morning when Gregor as a cockroach wakes up, he thinks as follows: "He was a tool of the boss, without brains or backbone" (p. 5). I want here on that word "tool" to focus for bit.
Now, when Siggy sees a word like "tool" you know what he does? He thinks at once about nothing but dirty sex. Ja, ist wahr. So for Siggy, the "tool" is a reference to Gregor's little dickey bird. You see, for Siggy all the troubles of life come from the dicky bird—you can play too much with your dicky bird or maybe you are not playing enough with the dicky bird. Or maybe all your difficulties come about, according to Siggy, because someone else has been playing with your dicky bird or maybe because someone has not been playing with your dicky bird.
With Siggy it's all dicky bird stuff, because you can make a dicky bird sing whatever tune you want—you can get Mozart on your dicky bird or Beethoven or maybe AC/DC on your dicky bird. Of course, so long as you are paying Siggy to sort out the way you feel about your little dicky bird, you will never get any Handel on your little troublemaker.
In Trier, where I was born, we call this sort of stuff a case of psychic adickydiction. Und poor Siggy is an extreme case, ein ultraadickydictischer Mensch.
And Freddy, of course, is just as verruckt (crazy). He thinks that the "tool," whether it is a dicky bird or not, just needs to be redescribed with a fancy new metaphor (like a canary) and then Gregor can declare himself an Ubermensch and set off to invade Poland, all by himself to the musik of Wagner on his Tyrolean Walkman.
Both Siggy and Freddy, you see, want us all to take our minds off the historische material facts of life out of which human sufferings arise. They wish to divert our minds away from the social revolution, which, as I have conclusively shown, is inevitable, into the realms of personal adjustment. They want you to believe that the personal is the political, so that if you wake up tomorrow transformed into a vermin, well, that's somehow the fault of your inner adjustment and has no connection to your materialistische circumstances or social oppression.
It will be obvious to you all that the "tool" which really matters is not the dicky bird but the shovel or some other piece of machinery which determines the nature of our work und therefore that nature of our lives und our thinking.
Last weekend my wife Jenny (that's Frau Marx) und ich, we were watching a video film. Sie heisst Taxi Driver. Oh ja, we have Rogers Cable up in that place there. Anyway, in that film there is an actor called Joe Boyle und at one point he says to the hero de Niro: "You do a thing and that's what you are." He was a fan of mine, you see, and had read all my books, so he had learned the truth about life: you are what you do.
To understand the story by Herr Kafka, then, all we have to attend to is the klar links between what Gregor does as an unkritikal prole in the society in which he lives and his transformation. His death therefore, which comes from starvation, is a willed denial of his humanity. There is lots of food to eat, but without any spiritual or emotional fulfilment, Gregor has no reason to eat und so he simply starves himself into an empty exoskeleton.
The story is, in my view, which is, as I explained, the only truth supported by the empirische facts of the case, a warning to you to recognize the ways in which your consciousness und your humanitat are being taken over by the capitalistische forces of the bourgeois market place.
So, in closing, let me remind you of those words I wrote in Die Manifesto der kommunistischen Partei, which indicate the moral of Herr Kafka's little parable: "Workers of the world unite: because if you don't bug the bourgeoisie, then it's gonna bug you. Und, of all the parties available to you, die kommunistische Partei is best—it is the in sect."
Just before I leave, I have a little poem which Herr T. S. Eliot gave to me at lunch yesterday. I would like to read Herr Eliot's work to remind you of everything I have here today spoke.
Love Song of Samsa and Delilah
Gregor Samsa woke one grey day
To find himself changed in a way.
He lay in bed squirming
Turned into a vermin
So he said: "Off to work, no delay."
His case, it is clear, had no hope
His life had become one cruel jokeHis full consciousness
An entomological mess
So he died in a heap with a poke.
To avoid such a full transformation
You must change all bourgeois exploitation.
So to Siggy und FreddySay, "
Piss off! I'm ready
For Karl und the true realization."
Thank you very much. Auf wiedersehen.
靠谱! 靠谱! 靠谱!
色彩专家说：橘色是不太讨人喜欢的颜色，特别是不受女性欢迎。I DO!
可是，喜欢橘色的人却具有出众的社交性格，可以与任何人融洽相处。REALLY?
这种人最适合从事推销员、空中小姐、旅馆服务员的工作。NONE OF MY BUSINESS.
经常笑脸迎人、先向人打招呼问好。HOLA! GUTE MORGAN!
喜欢与人相处，不喜欢独处。TURE!
喜欢上别人时，通常以朋友的身份爱慕对方，而不会以大胆热情示人。--靠谱!靠谱!靠谱!
另外，这种人非常喜欢新鲜事物或是稀奇古怪的东西，对人生拥有永不熄灭的情趣。 --靠谱!靠谱!靠谱!
I LOVE ORANGE!
FROM http://www.huangjiwei.com/blog/showlog.asp?cat_id=5&log_id=1500
2006年7月23日星期日
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