戲劇表演課上，同住一個(gè)宿舍的四個(gè)女學(xué)生正在排練馬里沃的戲劇《移情別戀》。從某一天起，一個(gè)神秘奇怪的男人闖入了她們的生活，他聲稱與她們的另一個(gè)同學(xué)塞西爾的男友安東尼相識(shí)，他告訴她們安東尼牽扯到一起犯罪事件，讓她們保持警惕。當(dāng)她們與這個(gè)男人的交往越來(lái)越密切，對(duì)他有了更多的了解，她們發(fā)現(xiàn)他的存在已經(jīng)對(duì)自己的生活和情感造成了巨大的影響，她們不得不想辦法除掉他……影片入選1989年《電影手冊(cè)》十佳。

這部電影比較長(zhǎng)，將近三個(gè)小時(shí)，節(jié)奏相對(duì)緩慢。其中穿插著許多戲劇排練的場(chǎng)景，人物要經(jīng)常從現(xiàn)實(shí)狀態(tài)切換到戲劇表演狀態(tài)，她們所表演的戲劇與現(xiàn)實(shí)中的故事沒(méi)有什么關(guān)聯(lián)，但是到后面我們會(huì)發(fā)現(xiàn)兩者并非完全是互不干擾的，她們的課程會(huì)因?yàn)楝F(xiàn)實(shí)中的種種因素受到影響，而戲劇也會(huì)在某種程度上為她們提供行動(dòng)的力量和精神的慰藉，讓她們更有勇氣去處理生活中遇到的麻煩。

字幕根據(jù)英文字幕翻譯，比較難翻譯的地方是她們排演時(shí)的對(duì)白，這里附上來(lái)源網(wǎng)絡(luò)的《移情別戀》的故事簡(jiǎn)介，以便更好理解她們排演的內(nèi)容。

王子（Le Prince）狩獵時(shí)偶遇了美麗純樸的女孩希雅（Silvia），對(duì)她一見(jiàn)鐘情，便派人將她擄到了王宮。王子遲遲不露面，派王宮近侍特弗朗（Trivelin）出面游說(shuō)希雅。不知內(nèi)情的希雅其實(shí)已有了心上人——同村的阿爾勘（Arlequin）。王子仆人之女麗雅（Flaminia）自告奮勇派妹妹麗賽特（Lisette）討好阿爾勘，拆散兩人。誰(shuí)知阿爾勘對(duì)麗賽特不屑一顧，反而和溫柔大方的麗雅成了好朋友，對(duì)她言聽(tīng)計(jì)從。隨后，王子與阿爾勘開(kāi)懷暢談，解開(kāi)了心結(jié)，讓阿爾勘醒悟了與希雅青梅竹馬的感情與愛(ài)無(wú)關(guān)。（人名翻譯與字幕不同）

原文鏈接： http://www.dvdbeaver.com/rivette/OK/threecircles.html

A first circle appears (or a segment of one). Let's call it A, since it is first to appear, though it never ceases throughout the film. This circle is an old theater, which serves as a school where some young women are rehearsing the roles they will play (Marivaux, Corneille, Racine) under the direction of Constance (Bulle Ogier). The difficult thing here is for the girls to express authentic feeling -- anger, love, despair -- with words that are not their own, but those of an author. This is the first sense of play: Roles. One of the girls, Cecile, has left a house in the suburbs to four other girls. She has gone to live elsewhere with the man she loves. The four girls will live together in the house, where they will experience the repercussions of their roles, as well as end-of the-day moods and personal postures, the effects of their private love affairs (to which they only allude), and their various attitudes toward one another. It is almost as if the girls had bounced off the wall of the theater to lead a life which they vaguely share in the house, where bits of their roles are carried over, but spread out in their own lives, with each girl minding her own business. You no longer have a succession of roles governed by a program, but rather a haphazard chain of attitudes and postures following several simultaneous stories that do not intersect. This is the second sense of play: the Attitudes and Postures in their interconnected day-to-day lives. What ceaselessly inspires Rivette is both the group of four girls and their individuation: comic and tragic types, melancholy and sanguine types, graceful and clumsy types, and above all. Lunar and Solar types. This is the second circle, B, inside the first, since it partly depends on the first, by receiving its effects. But circle B distributes these effects in its own way, moving away from the theater only to return to it endlessly.

The four girls are pursued by a man whose identity is unclear -- a con-artist, a spy, a cop -- looking for Cecile's lover (probably a criminal). What's it all about? Stolen IDs, stolen art, arms trafficking, a judiciary scandal? The man is looking for the keys to a locked chest. He tries to seduce each of them in turn, and succeeds with one. The three other girls will try to kill him: the first will try theatrically; the second, coldly; and the third, impulsively. The third girl will in fact beat him to death with a cane. These three scenes are Rivette's greatest moments: absolutely beautiful. This is the third sense of play: Masks, in a political or police conspiracy that goes beyond us, which no one can escape, a kind of global conspiracy. This is the third circle, C, which has a complex relationship to the other two. It prolongs the second circle and is intimately intertwined with it, since it increasingly polarizes the girls' attitudes, providing them with a common measure as it casts its spell on them. But it also spreads out over the whole theater, covering it, perhaps uniting all the disparate pieces of an infinite repertoire. Constance, the director, seems to be an essential element in the conspiracy from the beginning. (Is there not a blank period in her life spanning several years? Does she ever leave the theater, where she hides Cecile's naughty boy, who is probably Constance's lover?) And what about the girls themselves? One girl has an American boyfriend with the same name as the cop; the other girl has the same name as her mysteriously missing sister; and the Portuguese girl, Lucia, who is the epitome of the Lunar type, all of a sudden finds the keys and possesses a painting which is probably real... In short, the three circles are interwoven, acting on one another, progressing through one another, and organizing one another without ever losing their mystery.

We are all rehearsing parts of which we are as yet unaware (our roles). We slip into characters which we do nor master (our attitudes and postures). We serve a conspiracy of which we are completely oblivious (our masks). This is Rivette's vision of the world, it is uniquely his own. Rivette needs theater for cinema to exist: the young girls' attitudes and postures constitute a theatricality of cinema which, measured against the theatricality of theater, contrasts with it and emerges as perfectly distinct from it. And if the political, judicial, and police conspiracies weighing on us are enough to show that the real world has become a bad movie, then it is cinema's job to give us a piece of reality, a piece of the world. Rivette's project -- a cinema that opposes its theatricality to that of theater, its reality to that of the world, which has become unreal -- rescues cinema from the theater and the conspiracies threatening to destroy it. If the three circles communicate, they do so in places which are Rivette's own, like the back of the theater, or the house in the suburbs. These are places where Nature does not live, bur has survived with a strange grace: the undeveloped parts of a suburb, a rural stretch of city street, or secluded corners and alleyways. Fashion magazines have managed to make perfect, frozen pictures of these places, but everyone forgot that these places came from Rivette, having been impregnated with his dream. In these places conspiracies are hatched, young girls live together, and schools are established. But it is also in these places that the dreamer can still seize the day and the night, the sun and the moon, like a great external Circle governing the other circles, dividing up their light and their shadow.

In a certain way, Rivette has never filmed anything else bur light and its lunar (Lucia) and solar (Constance) transformations. Lucia and Constance are not persons, but forces. Bur this duality cannot be divided into good and evil. Hence Rivette ventures into those places where Nature has survived to verify the state in which the lunar and the solar subsist. Rivette's cinema has always been close to the poetry of Gerard Nerval, as though Rivette were possessed by him. Like Nerval, Rivette tours the remains of a hallucinatory Ile-de-France, tells the story of his own Daughters of Fire, and vaguely feels the conspiracy of an indeterminable madness approaching. It is not a question of influence. Bur this encounter makes Rivette one of the most inspired auteurs in cinema, and one of its great poets.

Originally appeared in Cahiers du Cinema, no. 416, February 1989. Reprinted in Two Regimes of Madness (MIT Press, 2006): p. 355-8.

博尼澤和李維特合作11部，洛朗和李維特合作10部，老搭檔了

背景音一直是火車通過(guò)的聲音，字幕打出的意思是大概在初冬

第一個(gè)鏡頭和第二個(gè)鏡頭是過(guò)場(chǎng)，用女學(xué)生從咖啡廳走出來(lái)去往劇場(chǎng)來(lái)帶出第一場(chǎng)戲。

大家都會(huì)好奇桌上放得什么書，后面才知道就是姑娘們的劇本

第一個(gè)鏡頭還在繼續(xù)，吃完了下午茶，繼續(xù)拿著劇本在讀

攝影機(jī)慢慢回拉，跟隨女學(xué)生來(lái)到餐廳門口，第一個(gè)鏡頭畢，用一個(gè)銀色鐵柱做的中軸線，畫面分割成幾個(gè)區(qū)域

第二個(gè)鏡頭，攝影機(jī)跟隨微笑著的女學(xué)生，搖攝從汽車來(lái)到了劇場(chǎng)，用劇場(chǎng)的一個(gè)進(jìn)和一個(gè)出的門作為穩(wěn)定中軸分割，背景音是鐘聲敲了五下，鏡頭畢

第一場(chǎng)：地點(diǎn)：劇場(chǎng)中；人物：表演系的女學(xué)生們和老師；事件：兩個(gè)女學(xué)生在臺(tái)上表演，老師點(diǎn)評(píng)，同時(shí)抽問(wèn)下面的同學(xué)們。

拉片重點(diǎn)：

1.用一個(gè)看似偶然的跟拍女學(xué)生進(jìn)入劇場(chǎng)，開(kāi)始表演，馬上進(jìn)入主題“表演”，正所謂“人生如戲，戲如人生?！北緢?chǎng)的每一個(gè)鏡頭時(shí)間也不短，鏡頭構(gòu)圖不停的左邊拉出一人，畫入和畫出另外一人，也側(cè)面說(shuō)明了這種人生的偶然性及其必然性。

2.用一場(chǎng)教學(xué)直接帶出了除開(kāi)男主角之外的所有主要人物，包括老師和四名女學(xué)生。同時(shí)用不同人的不同態(tài)度表達(dá)了不同的性格，同時(shí)在換學(xué)生和黃裙女生搭戲的同時(shí)，戛然而止。因?yàn)閷?dǎo)演不需要再給我們看同一場(chǎng)戲的不同表演了。展現(xiàn)了博尼澤和洛朗的劇本功力。

第三個(gè)鏡頭，劇場(chǎng)內(nèi)的門和墻和地毯是比外門，更加的紅色，李維特偏愛(ài)紅色，同時(shí)也是女性的顏色，也是熱情的代表

推開(kāi)第二道門，是更深的棕紅色了

第四個(gè)鏡頭，拉開(kāi)劇場(chǎng)門，除開(kāi)舞臺(tái)地面，幾乎全紅

第四個(gè)鏡頭，女學(xué)生根本沒(méi)往觀眾席望去，讓我們完全不知道還有觀眾，脫下外套

望向觀眾席叉腰，陌生人闖入

放下圍巾和包，快速站定，兩人朝的不同平面

打出字幕，我依然沒(méi)有搞懂，以為可能是電影名？

很搞笑的是，顯示的中文和法文字幕，等會(huì)兒又...

走到劇場(chǎng)中央一點(diǎn)，第四個(gè)鏡頭還在繼續(xù)，切出去了闖入那位

第四個(gè)鏡頭跟隨黃裙子回來(lái)，右邊又畫入了闖入者（其實(shí)是女孩兒演男角兒，后面第四場(chǎng)戲會(huì)詳細(xì)說(shuō)老師只收女孩子，但是需要演男角色的情況），畫面完全顯示了冷色調(diào)，明顯和現(xiàn)在兩人爭(zhēng)執(zhí)的情況合拍

第四個(gè)鏡頭還沒(méi)有結(jié)束，跟隨著熱情的黃裙子來(lái)到了紅色的背景，搭戲的男角色逐漸走位來(lái)到了她的背影中

繼續(xù)移動(dòng)走位，闖入者男角色換站位左邊，左邊的完整出現(xiàn)了門，代表兩個(gè)人的爭(zhēng)執(zhí)也許有了出口？

男角色回頭看兜里的東西，相對(duì)場(chǎng)外的老師說(shuō)話了，我才知道觀眾席有人

第五個(gè)鏡頭，切出了黃裙子，男角色在找解決問(wèn)題的出口

移動(dòng)站位，繼續(xù)讓男角色回到右邊

第五個(gè)鏡頭繼續(xù)，繼續(xù)讓男角色回到左邊，兩個(gè)人又爭(zhēng)執(zhí)起來(lái)了，其實(shí)就沒(méi)有找到解決問(wèn)題的出口

黃裙子走位到了中間，攝影機(jī)回拉，讓我們完整的開(kāi)到舞臺(tái)和臺(tái)階，這場(chǎng)表演要告一段落了

男角色換位到左邊，又在試著找到解決辦法了

男角色徹底忘詞了，反打鏡頭回來(lái)，我們才發(fā)現(xiàn)不止老師一個(gè)人

老師起身，鏡頭跟著老師走位，我們發(fā)現(xiàn)了，是一群女學(xué)生

本場(chǎng)戲還沒(méi)有結(jié)束，但是我不拉了，等著你們自己看