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1 ) 三敲馬拉門。辯證的藝術(shù)。
其實(shí)是個(gè)典型的道德劇。
馬拉與薩德。這批演員都表現(xiàn)得瘋瘋的，其實(shí)是故意做出一種仿紀(jì)錄片。薩德是假定性的戲劇導(dǎo)演，而這批瘋子中有一個(gè)女主演叫科代，負(fù)責(zé)去刺殺馬拉，人民的化身。三次。
你會(huì)覺得把它做成音樂片是絕妙的。
Make the historical political, make political musical, make the music historical.
這真是絕妙的策略。由瘋子掌握革命的解釋權(quán)，真是諷刺。這些以同情革命為名的反革命思想，不斷的被拿破侖王朝的貴族所打斷，一次又一次，他們的目的只有一個(gè)，要體現(xiàn)這是一所文明的瘋?cè)嗽骸?/p>
而我們的薩德，成了一個(gè)抒情的哲學(xué)家，仍然處在大革命的震撼中，即使這事已經(jīng)是15年后，“1808年，他通過寫作來撫平自己的傷口。一副哈姆雷特不愿意和人好好說話，長(zhǎng)期處在自白的排演之中。而馬拉不過是一個(gè)像叔叔一樣的刺殺者。51分鐘，薩德說，“他們都隨時(shí)準(zhǔn)備為了法蘭西的榮譽(yù)而獻(xiàn)身，保守主義者和激進(jìn)主義者都愿意品嘗鮮血的味道，溫和的自由主義者和憤慨的激進(jìn)主義者都相信法蘭西的偉大?！?/p>
諷刺的是，發(fā)動(dòng)革命的人民永遠(yuǎn)不知道自己要什么。最后大家得出一個(gè)結(jié)論，革命就是一場(chǎng)普遍的交，歡。
2 ) 一幫精神病演戲，你敢看嗎？
你可曾見過精神病患者演的戲？
眾所周知精神病人有多么不可控，想讓他們乖乖聽你的話都難，何況是演一出劇。
但英國戲劇大師彼得·布魯克卻做到了這一點(diǎn)。
《馬拉/薩德》
Marat/Sade
1964年，彼得·魏斯創(chuàng)作了《馬拉/薩德》，并由彼得·布魯克執(zhí)導(dǎo)，上演于倫敦，這部劃時(shí)代的作品震驚了整個(gè)西方戲劇界，已經(jīng)不能用厲害來形容，而是可怕。
《馬拉/薩德》講述的是一個(gè)戲中戲，薩德侯爵于1808年在法國夏朗頓精神病院受治療期間，執(zhí)導(dǎo)了由病友演出的關(guān)于馬拉被暗殺的一出戲劇。
他的又名也非常簡(jiǎn)單粗暴：根據(jù)德·薩德改編由夏朗頓精神病院患者們演出的對(duì)讓·保羅·馬拉的迫害與暗殺。
▲劇照
彼得·布魯克呈現(xiàn)的精神病患者演出的表演形式足以讓世人難以置信，瞠目結(jié)舌。
看過這部作品的幾乎沒人懷疑演員的精神病身份，但事實(shí)上，這只是彼得·布魯克的騙局。
01
一幫“精神病”在演戲
▲精神病的狂歡
《馬拉/薩德》的確是一部關(guān)于一幫精神病在演戲的作品，如果你不去了解，也一定會(huì)認(rèn)為演員均為真實(shí)的精神病患者。
因?yàn)檠輪T演得過于好了。
實(shí)際上他們皆是英國皇家莎士比亞劇團(tuán)的成員。在片中他們的表現(xiàn)無懈可擊，一顰一笑皆可稱為表演教科書。
▲真的挺像馬拉
飾演馬拉的演員會(huì)在臺(tái)詞外即興自由發(fā)揮，因?yàn)樗牟“Y是妄想癥；有著嗜睡癥和憂郁癥的科黛一逮著機(jī)會(huì)就睡；行動(dòng)性虐狂的杜伯雷始終注意力集中在女人的肉體和裙底；
▲雅克·魯 忿激派領(lǐng)袖
每一位演員在飾演角色時(shí)所攜帶的狀態(tài)和對(duì)細(xì)節(jié)的把控與患有真實(shí)病癥的人們毫無差別。
▲彼得·布魯克指導(dǎo)演員
《馬拉/薩德》太可怕了，因?yàn)檎乙慌鎸?shí)的精神病人來演遠(yuǎn)比演員來演精神病人要難多了。
真實(shí)的精神病人不用演，演員就不一樣了，況且還有戲中戲的設(shè)定，演員除了飾演精神病人，還要飾演精神病人飾演的“馬拉之死”故事中的角色。
他們的演技得有多好，簡(jiǎn)直難以想象。
02
贏在了起跑線上
▲舞臺(tái)在病院內(nèi)，觀眾席和舞臺(tái)被鐵欄隔開。
《馬拉/薩德》的另一個(gè)可怕之處，在于它戲中戲的結(jié)構(gòu)，電影還沒拍就已經(jīng)贏在了起跑線上。
戲中戲是指我們作為觀眾，看屏幕或是臺(tái)上的演員在演另一出戲。比如電影有《魔法圣嬰》，戲劇有《暗戀桃花源》等都比較典型。
▲禁片《魔法圣嬰》中的舞臺(tái)
《馬拉/薩德》也一樣，我們是在看電影里的精神病演員出演一場(chǎng)名為“對(duì)讓·保羅·馬拉特的迫害與暗殺”的舞臺(tái)劇。
▲夏朗頓精神療養(yǎng)院院長(zhǎng)
影片開頭導(dǎo)演便安排未參演的夏朗頓精神療養(yǎng)院院長(zhǎng)充當(dāng)主持人，向監(jiān)獄外的觀眾來賓解釋劇目并致辭。
舞臺(tái)上除了院長(zhǎng)一家及男女監(jiān)護(hù)護(hù)士，其余人都是參演者。
▲患有嗜睡癥和抑郁癥的科黛
幾位主要角色分別是馬拉，科黛，杜伯雷等，它們都有著不同的病癥。
除此之外，彼得布魯克還添加了自導(dǎo)自演的薩德和一位向觀眾解釋劇情的旁白角色，他們的存在讓劇目與現(xiàn)實(shí)分隔開，像排練順帶著演出。
▲就是這位頭上有犄角的家伙，哪哪都有他
比如當(dāng)某位“演員”忘詞，導(dǎo)演會(huì)隨時(shí)指令那位“弄臣”去提醒演員，科黛第一次上門舉刀被制止，薩德作為導(dǎo)演去提醒她第三次才能暗殺。
▲兄弟忘詞啦？
兩人都在戲外把控著整個(gè)舞臺(tái)劇的節(jié)奏。
這又是另一個(gè)可怕之處，彼得·布魯克的敘事實(shí)在是太強(qiáng)悍了。
03
臺(tái)詞不重要
▲舉年份牌唱出當(dāng)年發(fā)生的事
這位貫穿戲里戲外的“演員”的另外一個(gè)作用就是敘事，從一開始介紹劇中人物，到之后通過敘述故事情節(jié)來連接不同的時(shí)空，可能他說完一段話，5年過去了。
▲全民K歌
包括歌隊(duì)四人組也一樣，但凡他們開始唱歌，就是敘事，像結(jié)尾他們用幾十秒唱了法國大革命15年間發(fā)生的事，不僅好聽方便，也簡(jiǎn)單易懂。
通常我們需要借助很多道具，場(chǎng)景來敘事，但彼得·布魯克不需要。
▲演員演“門”
要演科黛敲門，演員直接站在科黛前演一個(gè)門，用手杖往地上敲三下，科黛也無實(shí)物敲三下；
▲演員演行刑后的入坑
要演貴族斷頭行刑，用木板敲擊地面模仿斷頭音效，排著隊(duì)的演員配合音效頭往下一抬，跳進(jìn)舞臺(tái)的坑里，另外的演員用紅色顏料往桶里一倒表示貴族死亡；
▲倒入液體示意死亡
根本無需復(fù)雜的場(chǎng)景和道具，用有限的資源就能完美敘事。
因此在敘事足夠的條件下，臺(tái)詞就顯得沒那么重要了。
再加上演員患精神病的設(shè)定，我們的關(guān)注點(diǎn)變成了觀察所有“演員”的肢體反應(yīng)。
▲杜伯雷的墜入
比如科黛把騷擾自己的色情狂杜伯雷引誘到坑邊，一個(gè)熊抱他摔下去引得大家哄堂大笑,但雙方都念著自己都不知道什么意思的對(duì)白。
我們與電影里的院長(zhǎng)一樣，總擔(dān)心這些精神病人是否會(huì)失控，但樂趣卻來自于此。
04
馬拉與薩德
▲薩德（左）與馬拉（右）
說臺(tái)詞不重要，也未必。
據(jù)稱《馬拉/薩德》的劇本是由文獻(xiàn)記載的二人言論拼接而成，構(gòu)成了一場(chǎng)穿越時(shí)空的辯論。
▲《馬拉之死》，科黛刺殺后未離開，當(dāng)場(chǎng)被捕
《馬拉之死》這幅畫無人不知無人不曉，薩德侯爵作為SM的創(chuàng)始人之一也算是名揚(yáng)中外。
兩位看似八桿子打不到一塊的人類，實(shí)則有跡可循。
▲讓-保爾·馬拉肖像（左），夏綠蒂·科黛肖像（右）
讓-保爾·馬拉作為法國大革命時(shí)期搞革命的中流砥柱，是雅各賓派的領(lǐng)導(dǎo)人之一，一直與代表大資產(chǎn)階級(jí)利益的吉倫特派進(jìn)行激烈的斗爭(zhēng)。
▲雅各賓派處決溫和的吉倫特派貴族
他主張通過極端的暴力革命改變社會(huì)，并殘忍的殺害貴族以及無辜的平民；1793年吉倫特派的女刺客夏綠蒂·柯黛潛入他的工作地點(diǎn)并用匕首刺殺了他。
▲薩德侯爵肖像與他的《索多瑪100天》
薩德侯爵則是一位色情和哲學(xué)書作家，薩德在結(jié)婚后獲得了大筆財(cái)富，自此他開始了臭名昭著的生活：多次虐待雛妓和他家里的男女傭人，并用不同的方式對(duì)他們進(jìn)行性虐待。
▲薩德的色情插圖
之后幾經(jīng)入獄，1803年他被稱瘋狂被關(guān)入精神病院，之后他不僅寫了很多書籍，還經(jīng)常組織病友演戲。
如果史實(shí)無誤，《馬拉/薩德》還是真人真事改編咧。
▲1793年 南特大規(guī)模射殺
其實(shí)，兩位雖領(lǐng)域不同，但做的事情卻非常類似，一個(gè)嗜血好殺，一個(gè)為所欲為，都是極端的個(gè)人主義。
當(dāng)兩人開始辯論如何讓世界變得更好，是不是有些諷刺？
▲受死吧，馬拉
馬拉身負(fù)重任，為底層人民決定當(dāng)個(gè)壞人，犧牲事小，改變社會(huì)事大。
這時(shí)薩德便說：“人民需要你，因?yàn)槟銥樗麄兪芸?，他們敬仰你的骨灰甕。但明天他們就會(huì)把它打翻在地上，說’馬拉？誰？’ ”
▲人面獸心的家伙
薩德所崇尚的解放獸性也好不到哪去，基于給他人帶來痛苦的前提下愉悅自己這回事還是挺變態(tài)的。
但他們與我們最大的不同，是他們沒有冷眼旁觀，而是挺身而出，不管用什么樣的方法，他們?cè)趯で笾淖儭?/p>
更可恨的是那些無動(dòng)于衷，高高在上的人們。
▲高高在上的人們
電影里身著拿破侖套裝的院長(zhǎng)，凡是內(nèi)容涉嫌敏感便立馬叫停的獨(dú)裁者姿態(tài)，對(duì)牢籠外的貴族朋友阿諛奉承，對(duì)牢籠內(nèi)的革命者無情壓制，隨處可見的法蘭西標(biāo)志性三色藍(lán)白紅也是一種諷刺。
▲藍(lán)白紅隨處可見
強(qiáng)權(quán)貴族笑看著人民之友的內(nèi)訌，始終以高人一等的姿態(tài)笑看風(fēng)云。仿佛天空飄來五個(gè)字，那都不是事兒。
▲強(qiáng)暴，撕扯，敲打，亂成一團(tuán)
所以彼得·布魯克出動(dòng)，在影片的結(jié)尾發(fā)動(dòng)了一場(chǎng)暴亂。
牢籠里的病人開始破壞臺(tái)上的一切，色情狂不再忍耐，撕爛女人的衣物，院長(zhǎng)被瘋狂的病人束縛，撕扯，觀眾們離開了座位，有的爬到鐵欄上方，像看熱鬧般觀看著牢獄里一度失控的盛況。
▲觀眾搶著看“好戲”
而處于混亂中間的薩德，在放聲大笑著，這時(shí)我才意識(shí)到，這部戲的導(dǎo)演不是彼得·布魯克，是薩德侯爵。
▲關(guān)注微信公眾號(hào)，后臺(tái)回復(fù)“馬拉薩德”領(lǐng)取支援
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3 ) FIFF2丨DAY3《馬拉/薩德》將我們永恒的懷疑曝于日光之下
第2屆#法羅島電影節(jié)#無人知曉單元第3個(gè)放映日為大家?guī)怼恶R拉/薩德》，下面為大家?guī)砬熬€瘋子們自由民主的真實(shí)評(píng)價(jià)了！
東瞅西：
令人驚嘆的電影，戲中戲的結(jié)構(gòu)對(duì)演員的挑戰(zhàn)不言而喻，間離的運(yùn)用讓觀眾感受到了真實(shí)的沖擊。
湯達(dá)人：
這絕對(duì)是舞臺(tái)劇和電影最完美的結(jié)合，探討的內(nèi)容非?？膳拢軐W(xué)，革命，政治?？吹阶詈蟊槐硌莸那榫w波動(dòng)不禁流出眼淚，最后瘋狂后的戛然而止讓人無語凝噎。借用電影的一句臺(tái)詞“這出戲已實(shí)現(xiàn)的意圖在于偉大的主張及其反對(duì)意見的碎片，看看它們是怎么作用的，讓它們?nèi)?zhēng)斗出個(gè)結(jié)果。意義？將我們永恒的懷疑曝于日光之下?！?/p>
Candice：
精神病人排戲，一出自由奔放的舞臺(tái)劇。
妓導(dǎo)繆斯：
形式精彩與內(nèi)容豐富的絕妙融合。光是讓演員去演精神病，加上戲中戲就已經(jīng)無比震撼，再者對(duì)于階級(jí)問題的探討也是暴露在陽光之下。無論是導(dǎo)演還是劇作都是精心打磨之下的爐火純青。私人金月球奉上。
子夜無人：
它的形式感很瘋狂、很極致、令人嘆為觀止，但我無法被打動(dòng)。
Her Majesty：
瘋癲的表現(xiàn)主義，戲中戲中戲的結(jié)構(gòu)。視聽效果炸裂。有趣而又讓我們天朝人民熟悉的一小段插曲：當(dāng)病人們?nèi)霊虻佚R聲高喊著“自由”的時(shí)候，一個(gè)身份很高貴的觀眾就馬上站起來，用很理智的表情說“自由不是為所欲為”。奶一口金月球。
法羅島島主：
民眾是瘋子，貴族是觀眾，革命是戲劇，戲內(nèi)的君主專制對(duì)應(yīng)戲外的創(chuàng)作限制，最后民眾真的成了瘋子，貴族成了魚肉，革命成了暴動(dòng)，無產(chǎn)階級(jí)萬歲，世界人民大團(tuán)結(jié)萬歲！
我略知她一二：
一群瘋子粉墨登場(chǎng)，一起革命從天而降，馬拉和薩德用一種狂熱瘋癲的語言講述前朝舊事。在這個(gè)后革命的文本時(shí)代，革命是一段被詛咒、被誣蔑，遭遇塵封和掩埋的歷史。 “有一天，人們會(huì)告訴你們，階級(jí)沖突已經(jīng)不再存在?！碑?dāng)革命沖破謬論，階級(jí)沖突蕩然瓦解卻永遠(yuǎn)存在，但這正是革命的意義：自由、平等、公正、法治。也許我們不能告別無邊牢籠的昨天，但卻可以創(chuàng)造陽光普照的明天。
#FIFF2#DAY3的無人知曉場(chǎng)刊評(píng)分稍后會(huì)在廣播中為大家釋出，請(qǐng)大家拭目以待了。
4 ) 被厭棄的喉舌。
偉大的隱喻，即使二戰(zhàn)后也是法國大革命以后的隱喻。人民就是瘋子，而社會(huì)就是混亂。貴族是導(dǎo)火索，而整個(gè)國家就是瘋?cè)嗽骸?/p>
第42分鐘，薩德的獨(dú)白很有說服力，他說我們的行為就是自己思想的影子。我看到太多的狂徒暴徒和殺人犯，讓我得出一個(gè)結(jié)論——人是瘋狂的禽獸。
之后一只對(duì)戲的馬拉也說了一句名言：“我們自己就是革命，但我們的失敗在于，不會(huì)引導(dǎo)革命（經(jīng)營(yíng)不善破了產(chǎn)）。” 在任何歷史時(shí)間，這都是有現(xiàn)實(shí)意義的話。因?yàn)楣芾?，基于人性，也淪喪于人性。 一切都是對(duì)馬拉的質(zhì)疑，一切都是薩德的意淫。
5 ) 瘋癲烏托邦
6 ) 瘋?cè)嗽涸杼美锏姆▏蟾锩?/h4>沒資格評(píng)論，貼幾段臺(tái)詞吧。
薩德侯爵：他們就是這樣看待革命的——他們牙疼，需要拔牙；湯燒糊了，他們喊著要好湯；女人嫌丈夫矮，想換個(gè)高的；男人覺得妻子瘦，想要個(gè)胖的；一個(gè)人鞋子擠腳，可他鄰居的鞋很舒服；詩人沒了靈感，絕望地探索新景象；漁夫忙了幾個(gè)小時(shí)，就是沒魚兒上鉤；所以，他們參加了革命，以為革命可以給他們一切。然后他們占領(lǐng)了一個(gè)個(gè)要塞，血流成河，這些英雄事跡把我們都驅(qū)逐到陰溝里去，我們倒是可以當(dāng)故事講給孫子輩聽，如果人類還會(huì)有孫子輩的話。最后什么也沒有改變，鞋子還是擠腳，魚還是不上鉤，家里還是那個(gè)老丑的配偶，湯還是燒糊了。 薩德侯爵：人民需要你，因?yàn)槟銥樗麄兪芸?，他們敬仰你的骨灰甕。但明天他們就會(huì)把它打翻在地上，說“馬拉？誰？” 。
歌詠隊(duì)：馬拉馬拉，這一切都是徒勞，馬拉馬拉，你告訴我們出路在哪，馬拉馬拉，你腦子一片空白。
馬拉：I read in your books, de Sade, in one of your immortal works, that the animating force of nature is destruction, and that our only instrument for measuring life is death.
薩德侯爵：But man has given a false importance to death… Nature would watch unmoved if we destroy the entire human race… Man is a destroyer. But if he kills and takes no pleasure in it, he is a machine. He should destroy with a passion, like a man.
馬拉：Against nature’s silence, I use action. In the vast indifference, I invent a meaning. I don’t watch unmoved. I intervene. And I say that this and this are wrong. And I work to alter them and to improve them, because the important things to pull yourself up by your own hair, to turn yourself inside out and see the whole world with fresh eyes.
薩德侯爵：Before deciding what is right and what is wrong, first we must find out what we are. I do not know myself. No sooner have I discovered something than I begin to doubt it. And have to destroy it again. What we do is but a shadow of what we want to do, and the only truths we can point to are the ever-changing truths of our own experience. I don’t know if I’m hangman or victim, for I imagine the most horrible tortures, and as I describe them, I suffer them myself. There’s nothing I could not do, and everything fills me with horror. And I see that other people, too, turn themselves into strangers and are capable of unpredictable acts. A little time ago, I saw my tailor—a gentle, cultured man who liked to talk philosophy. I saw him foam at the mouth and, screaming with rage, attack a man from Switzerland—a large man, heavily armed—and destroy him utterly. And then I saw him tear open the breast of the defeated man, take out the still-beating heart, and swallow it.
馬拉：We invented the revolution, but we didn’t know how to run it.
馬拉：Don’t think you can beat them without using force. Don’t be deceived. When our revolution has been finally stamped out and they tell you things are better now. Even if there’s no poverty to be seen because the poverty’s been hidden, even if you got more wages and could afford to buy more of these new and useless goods, and even if it seemed to you that you never had so much, that is only the slogan of those who have that much more than you. Don’t be taken in. And they pat you paternally on the shoulder and tell you there’s no more inequality worth speaking of, and no more reason for fighting. If you believe them, they will be completely in charge in their shining homes and granite banks, from which they rob the people of the world under the pretense of bringing them freedom. Watch out, for as soon as it pleases them, they will send you out to protect their wealth in war. Whose weapons rapidly developed by servile scientists will become more and more deadly until they can, with the flick of a finger, tear a million of you to pieces.
雅克·魯：Woe to the man who is different, who tries to break down all the barriers. Woe to the man who tries to stretch the imagination of man. He shall be mocked. He shall be scourged. By the blinkered guardians of morality. You wanted enlightenment and warmth, and so you studied light and heat. You wondered how forces could be controlled, so you studied electricity. You wanted to know what man is for, so you asked yourself, what is the soul—this dump for hollow ideals and mangled morals? And you decided that the soul is in the brain and that it can learn to think. For you, the soul is a practical thing, a tool for ruling and mastering life. And you came on day to the revolution because you saw the most important vision—that our circumstances must be changed fundamentally. And without these changes, everything we try to do must fail.
科黛：Look at this city. Its prisons are crowded with our friends. I was with them just now in my sleep. They stand huddled together, and hear through the windows, the guards talking about executions! Hmm! They talk of people now as gardeners talk of leaves for burning. Their names are crossed off at the top of a list. And as the list grows shorter, more names are added to the bottom. I stood with them, and we waited for our own names to be called! What kind of town is this? What sort of streets are these? Who invented this? Who profits by it? I saw peddlers at every corner. They’re selling little guillotines with tiny sharp blades. And dolls filled with red liquid which spurts from the neck when the sentence is carried out. What kind of children are these who can play with this toy so efficiently? And who is judging? Who is judging?
薩德侯爵：But what’s the point of a revolution without general copulation? Marat, I lay in the Bastille for 13 long years, and learned that this is a world of bodies, each body pulsing with its own terrible power. Each body alone and wracked with its own unrest. In that loneliness, marooned in a stone sea, I heard lips whispering continually and felt all the time, in the palms of my hands and in my skin, the need for contact. Shut behind 13 bolted doors, my feet fettered, I dreamed only of the orifices of the body, put there so that one may hook and twine oneself in them. Continually, I dreamed of this confrontation. And it was a dream of the most savage, jealous, and cruelest imagining. Marat, these cells of the inner self are worse than the deepest stone dungeon. And as long as they are locked, all your revolution is but a prison mutiny to be put down by corrupted fellow prisoners.
修道院長(zhǎng)：Pray! Oh pray to him! Our Satan, who art in Hell, hallowed by thy name. Thy kingdom come on earth as it is in hell. Forgive us our good deeds and deliver us from holiness. Lead us! Lead us into temptation. Over and over. Amen.
鏈接：//pan.baidu.com/s/1WS8K2-O3VIkSoKHBaw8c9Q 密碼：47e2
有英字無中文
沒資格評(píng)論，貼幾段臺(tái)詞吧。 薩德侯爵：他們就是這樣看待革命的——他們牙疼，需要拔牙；湯燒糊了，他們喊著要好湯；女人嫌丈夫矮，想換個(gè)高的；男人覺得妻子瘦，想要個(gè)胖的；一個(gè)人鞋子擠腳，可他鄰居的鞋很舒服；詩人沒了靈感，絕望地探索新景象；漁夫忙了幾個(gè)小時(shí)，就是沒魚兒上鉤；所以，他們參加了革命，以為革命可以給他們一切。然后他們占領(lǐng)了一個(gè)個(gè)要塞，血流成河，這些英雄事跡把我們都驅(qū)逐到陰溝里去，我們倒是可以當(dāng)故事講給孫子輩聽，如果人類還會(huì)有孫子輩的話。最后什么也沒有改變，鞋子還是擠腳，魚還是不上鉤，家里還是那個(gè)老丑的配偶，湯還是燒糊了。 薩德侯爵：人民需要你，因?yàn)槟銥樗麄兪芸?，他們敬仰你的骨灰甕。但明天他們就會(huì)把它打翻在地上，說“馬拉？誰？” 。
歌詠隊(duì)：馬拉馬拉，這一切都是徒勞，馬拉馬拉，你告訴我們出路在哪，馬拉馬拉，你腦子一片空白。
馬拉：I read in your books, de Sade, in one of your immortal works, that the animating force of nature is destruction, and that our only instrument for measuring life is death.
薩德侯爵：But man has given a false importance to death… Nature would watch unmoved if we destroy the entire human race… Man is a destroyer. But if he kills and takes no pleasure in it, he is a machine. He should destroy with a passion, like a man.
馬拉：Against nature’s silence, I use action. In the vast indifference, I invent a meaning. I don’t watch unmoved. I intervene. And I say that this and this are wrong. And I work to alter them and to improve them, because the important things to pull yourself up by your own hair, to turn yourself inside out and see the whole world with fresh eyes. 薩德侯爵：Before deciding what is right and what is wrong, first we must find out what we are. I do not know myself. No sooner have I discovered something than I begin to doubt it. And have to destroy it again. What we do is but a shadow of what we want to do, and the only truths we can point to are the ever-changing truths of our own experience. I don’t know if I’m hangman or victim, for I imagine the most horrible tortures, and as I describe them, I suffer them myself. There’s nothing I could not do, and everything fills me with horror. And I see that other people, too, turn themselves into strangers and are capable of unpredictable acts. A little time ago, I saw my tailor—a gentle, cultured man who liked to talk philosophy. I saw him foam at the mouth and, screaming with rage, attack a man from Switzerland—a large man, heavily armed—and destroy him utterly. And then I saw him tear open the breast of the defeated man, take out the still-beating heart, and swallow it.
馬拉：We invented the revolution, but we didn’t know how to run it.
馬拉：Don’t think you can beat them without using force. Don’t be deceived. When our revolution has been finally stamped out and they tell you things are better now. Even if there’s no poverty to be seen because the poverty’s been hidden, even if you got more wages and could afford to buy more of these new and useless goods, and even if it seemed to you that you never had so much, that is only the slogan of those who have that much more than you. Don’t be taken in. And they pat you paternally on the shoulder and tell you there’s no more inequality worth speaking of, and no more reason for fighting. If you believe them, they will be completely in charge in their shining homes and granite banks, from which they rob the people of the world under the pretense of bringing them freedom. Watch out, for as soon as it pleases them, they will send you out to protect their wealth in war. Whose weapons rapidly developed by servile scientists will become more and more deadly until they can, with the flick of a finger, tear a million of you to pieces. 雅克·魯：Woe to the man who is different, who tries to break down all the barriers. Woe to the man who tries to stretch the imagination of man. He shall be mocked. He shall be scourged. By the blinkered guardians of morality. You wanted enlightenment and warmth, and so you studied light and heat. You wondered how forces could be controlled, so you studied electricity. You wanted to know what man is for, so you asked yourself, what is the soul—this dump for hollow ideals and mangled morals? And you decided that the soul is in the brain and that it can learn to think. For you, the soul is a practical thing, a tool for ruling and mastering life. And you came on day to the revolution because you saw the most important vision—that our circumstances must be changed fundamentally. And without these changes, everything we try to do must fail. 科黛：Look at this city. Its prisons are crowded with our friends. I was with them just now in my sleep. They stand huddled together, and hear through the windows, the guards talking about executions! Hmm! They talk of people now as gardeners talk of leaves for burning. Their names are crossed off at the top of a list. And as the list grows shorter, more names are added to the bottom. I stood with them, and we waited for our own names to be called! What kind of town is this? What sort of streets are these? Who invented this? Who profits by it? I saw peddlers at every corner. They’re selling little guillotines with tiny sharp blades. And dolls filled with red liquid which spurts from the neck when the sentence is carried out. What kind of children are these who can play with this toy so efficiently? And who is judging? Who is judging? 薩德侯爵：But what’s the point of a revolution without general copulation? Marat, I lay in the Bastille for 13 long years, and learned that this is a world of bodies, each body pulsing with its own terrible power. Each body alone and wracked with its own unrest. In that loneliness, marooned in a stone sea, I heard lips whispering continually and felt all the time, in the palms of my hands and in my skin, the need for contact. Shut behind 13 bolted doors, my feet fettered, I dreamed only of the orifices of the body, put there so that one may hook and twine oneself in them. Continually, I dreamed of this confrontation. And it was a dream of the most savage, jealous, and cruelest imagining. Marat, these cells of the inner self are worse than the deepest stone dungeon. And as long as they are locked, all your revolution is but a prison mutiny to be put down by corrupted fellow prisoners. 修道院長(zhǎng)：Pray! Oh pray to him! Our Satan, who art in Hell, hallowed by thy name. Thy kingdom come on earth as it is in hell. Forgive us our good deeds and deliver us from holiness. Lead us! Lead us into temptation. Over and over. Amen. 鏈接：//pan.baidu.com/s/1WS8K2-O3VIkSoKHBaw8c9Q 密碼：47e2 有英字無中文
狠狠想看舞臺(tái)劇原版，電影的話還是缺了一些力度，空間有些太小了，個(gè)別近景讓人物張力消失（感覺有的鏡頭完全發(fā)揮不出來電影這一媒介的優(yōu)勢(shì)）
在一群精神病的包圍之中，憂郁深沉的薩德侯爵把他色情界亞里士多德的風(fēng)采都表現(xiàn)出來了
嗜睡癥Charlotte Corday真可愛
瘋癲，怪異，赤裸，要不是10分鐘一段，我可能很難看完，表演幾乎以假亂真，臺(tái)詞是寫的真好啊，擠在頭腦里的政治家，世界上最好喝的湯，靈魂是垃圾嗎，內(nèi)心的監(jiān)獄，也許偉大的作品都只是提出問題，而每個(gè)人的心中各有答案。
奇片，居然是皇家莎士比亞劇團(tuán)演的。通過瘋?cè)嗽旱募俣ㄐ?，進(jìn)行了隱喻——社會(huì)就是混亂chaos，同時(shí)因?yàn)橐粋€(gè)時(shí)間差揭示了革命的反恐性。2008年搞了漢化版。
民眾是瘋子，貴族是觀眾，革命是戲劇，戲內(nèi)的君主專制對(duì)應(yīng)戲外的創(chuàng)作限制，最后民眾真的成了瘋子，貴族成了魚肉，革命成了暴動(dòng)，無產(chǎn)階級(jí)萬歲，世界人民大團(tuán)結(jié)萬歲!
完全看傻了！傻傻的分不清楚哪些是演員的表演哪些是瘋子的失控。原來有句話叫“演戲的是瘋子，看戲的是傻子”，多么貼切的描述我的觀影狀態(tài)！如《狗鎮(zhèn)》般的極簡(jiǎn)布景，沒有花哨的道具復(fù)雜的視聽語言，民眾的恐懼、幽默、有關(guān)瘋狂與理智的對(duì)話，都在“戲中戲”的游戲里合而為一。這些真正的精神病人的出演，代表了當(dāng)年住在精神病醫(yī)院里面的人的情況，更深刻地通過藝術(shù)向公眾展示精神病人如何從疾病困擾中解脫，和他們對(duì)自由的向往。
我比較在意這個(gè)由鐵柵欄阻隔的瘋?cè)嗽何枧_(tái) 一邊是表演一邊是觀眾 而他們都被一同放進(jìn)了影片頭尾柵欄般的演職員字幕卡中。Brook的舞臺(tái)電影從來都不乏其以影像/平面美學(xué)改造/編縱深舞臺(tái)美學(xué)的思考：大/特寫被作為重要的電影語言完成戲劇表演的文本回歸 臉被當(dāng)作劇本臺(tái)詞文字的形象化來替代舞臺(tái)的匿名性；演員運(yùn)動(dòng)的視覺呈現(xiàn)也用攝影機(jī)的位置邏輯替代了動(dòng)作自身的邏輯；強(qiáng)烈的攝影機(jī)主體位置也突出了整部戲劇的幽閉空間感，無論是第一個(gè)開門的鏡頭還是不斷插入的柵欄后視角。唯一比較平庸的地方是薩德自身的位置與呈現(xiàn)，作為類似于旁觀者的薩德卻是以無差別于其他故事人物的形象出現(xiàn)并對(duì)話的，原劇本中薩德的中介位置在影片中完全變成了故事內(nèi)的一個(gè)人物了，似乎Brook還是沒有通過攝影機(jī)自反與中介人物穿越敘述層次的方法在媒介意義上
不敢說我看懂了
戲中戲的結(jié)構(gòu)將歷史和現(xiàn)代結(jié)合，當(dāng)權(quán)者還是會(huì)用自己的權(quán)利意志構(gòu)造意識(shí)形態(tài)，電影的內(nèi)容對(duì)標(biāo)?？碌摹兑?guī)訓(xùn)與懲罰》和《瘋癲與文明》
演戲的是皇沙的原班人馬和精神病院患者，看戲的是拿破侖宮廷的顯貴，牢籠外一百多年后的保守派是黃雀在后的真正觀眾。病人能不能不被病癥干擾演到底？導(dǎo)演薩德能不能控制住場(chǎng)面？院長(zhǎng)會(huì)不會(huì)中途勒令叫停？鏡頭串起牢籠內(nèi)外三個(gè)層面的瘋狂不安，像急流一樣沖向馬拉的宿命，在限制觀眾視角的同時(shí)，實(shí)現(xiàn)了劇場(chǎng)達(dá)不到的張力和回響。Andrew Sarris說得好：過去百年的一大悲劇是沒有更多的戲劇被轉(zhuǎn)成電影，哪怕只是鏡頭記錄。同時(shí)是拍攝紀(jì)實(shí)的電影版改編，這是Peter Brook自己關(guān)于革命的Burden of Dreams。all-time fav
119.22
有點(diǎn)枯燥，其他都很好
！?。。。FCvpmD（有在線錯(cuò)位中文字幕）。太好！太好！
相當(dāng)精彩。監(jiān)獄/精神病院里外兩層的setup去看薩德在貴族面前講馬拉的故事 里外套圈 故事套圈 表演套圈。下水道，大革命，思辨，混亂，命令，荒誕。非常典型的戲劇設(shè)置，儀式感，直面觀眾，但一些特寫和運(yùn)鏡又做到了戲劇不容易做到的。從架構(gòu)和本子來說太值得一看了，只不過對(duì)我而言結(jié)尾處理過于convenient
精彩至極。這才是劃時(shí)代的戲劇該有的樣子，形式本身已經(jīng)構(gòu)成了哲學(xué)，內(nèi)容更是充斥著瘋癲的哲理，幾乎打通西方文藝?yán)碚摰乃兄R(shí)點(diǎn)：巴赫金，?？抡l的，十足可怕。彼得布魯克制作的電影也很好地體現(xiàn)了他自己的戲劇理論，聽說舞臺(tái)效果更令人發(fā)指，打破的估計(jì)不止是這第四堵墻?？膳碌碾娪?，可怕。
“你的肉體只是時(shí)光，不停流逝的時(shí)光。你只不過是每一個(gè)孤獨(dú)的瞬息?！瘪R拉是誰，馬拉在哪里？一個(gè)沉沒在浴缸里的暴力革命家，一個(gè)無序世界里眾多犧牲者之一。戲中戲結(jié)構(gòu)的設(shè)置與透過鐵柵欄觀望“舞臺(tái)”的形式匹配——回溯那場(chǎng)風(fēng)卷殘?jiān)频拇蟾锩菙R置在現(xiàn)今文明之前的一道命題；調(diào)度很是驚人，演繹方式簡(jiǎn)單生猛而突破常規(guī)，演員們絕了。
馬拉對(duì)決薩德，一些老生常談了，監(jiān)獄圍欄后的視角還沒有charlotte corday女演員那一張臉一秒鐘的靜置來的有效，想起losey那版玩偶之家，唯有簡(jiǎn)方達(dá)像唯一的活人從一堆（老，白）zombi里殺出重圍
【瘋子才能搞哲學(xué)和藝術(shù)/9.8】舞臺(tái)音樂劇效果完美（舞美、演員、音樂…可以打10+么？?。桓璩噘Y產(chǎn)階級(jí)的垮臺(tái)，人們的“當(dāng)家作主”---來自一群極端無政府主義者的聲音；敢于直面道德的本質(zhì)，敢于挑戰(zhàn)倫理所謂的犯罪，這就是薩德侯爵的瘋?cè)苏芾怼?/p>
費(fèi)了點(diǎn)功夫才明白，主要是欠缺背景知識(shí)…改編自瑞典的彼特·魏斯劇作，算是影版？戲中戲，即薩德侯爵（索多瑪那位）安排精神病院病人演出了一場(chǎng)關(guān)于馬拉之死的戲劇，探討法國大革命相關(guān)。單形式就夠瘋癲…