2011年12月15日 星期四

荒誕劇場的特色與社會價值


荒誕劇場的特色與社會價值

一、簡介

「荒誕劇場」(The Theatre of the Absurd)是第二次世界大戰後西方戲劇界最有影響力之一的現代前衛派戲劇(魏綺珊, 2008)

為了對「荒誕劇場」有更透徹的理解,本文將會援引荒誕主義哲學家的思想作支線,配合對《等待果陀》和《六個尋找作家的角色》的分析,將「荒誕」這個概念、在劇場的表演手法以至荒誕劇場對現今社會的意義和反思納入本文的討論範圍,希望能夠從劇場反思到人生的價值,並從人生的價值看荒誕劇場

荒誕劇場的出現,可說是對於當時世界的荒誕性的一種反諷。人類在經歷第一次和第二次世界大戰後,長街破落,生靈塗炭。面對著充滿血腥、殘酷、殺戮的畫面,亦令當時的人質疑一直相信的真理和一直相信的主,繼續反思存在的思義何在。

其中,法國哲學家卡繆在一九四六年在美國哥倫比亞大學演講時曾說:

「我誕生於第一次世界大戰初期。稍長時,經歷了一九二九年的危機:二十歲時遭受希特勒的迫害。然後是衣索匹亞戰爭、西班牙內戰以及慕尼黑協定。這些就是我輩教育的基礎。還有整個第二次世界大戰…,生長在這樣的一個世界裡,我們相信什麼呢﹖沒有。除了那種我們最初就被迫置身其中的頑強否定外,一無所有。我們被帶入的世界,是一個荒謬的,無處可以避難的世界。」

根據卡繆的概念,世界的存在和人的存在,本來並不荒誕的,但「人存在世界上」就是荒誕。所謂「物競天澤,適者生存」,自然的淘汰本來是合理的,而人求生存也是合理的,但是世界運作的方式不能滿足人類的要求,繼而產生一種「我想生存,但世界要我死」的荒誕。

荒謬派戲劇在藝術上的表現有以下幾個特點:
(一)荒誕性:表達虛空無聊,滑稽及殘酷的訊息
(二)形式:反戲劇性,摒棄結構、語言、情節上的邏輯性與連貫性;
結構及對話單調而重復;缺乏時間感,戲劇內開始與結束都以無稽的狀態呈現;以幽默形式來表達嚴肅的悲劇處境或主題 (悲喜劇)
(三)修辭方法:通常用象徵、暗喻的方法表達主題;

而下文將會就荒誕性、形式和修辭方法三個方面分析《等待果陀》和《六個尋找作家的角色》這兩部劇作。

二、荒誕性

「我們甚麼事也作不成!」
《等待果陀》第一幕

貝克特在《等待果陀》一劇中,就直說「我們甚麼事也作不成」,彷彿預示了劇場的結局,但是故事的兩個主人翁愛斯特拉岡(Estragon) 和弗拉季米爾(Vladimir)仍然在等,一直在等,一直在等待果陀的出現。而這映照了人生,因為人生有許多時光都在等中度過的,有千百種的等,即使等到一無所等的時候,我們仍然在等,等待一個有所等的時刻到來。(周國平,1991);而其實果陀並不重要,等待才是主角

在等待過程中,兩個主角一直無所事事又使人無聊煩悶,即有一種虛空的意境,兩個主角繼而瑣碎地講話、作動作,從白天等到晚上,直到出現一個孩子,告訴他們:「果陀不來,或許明天會來。」於是兩個主人翁說:「走吧!」但是沒有離開,直到次日,生命又繼續重複。

「艾:我們現在幹什麼呢?佛拉迪米爾:我不知道。」
「艾:我們走吧。佛拉迪米爾:不能走。」
「艾:為什麼?佛拉迪米爾:我們在等待果陀。」
《等待果陀》第二幕
然而,貝克特劇中的果陀一直未有露臉,卻是愛斯特拉岡和弗拉季米爾內心重要的一隅,就正如我們的人生一樣,有時候我們都不清楚自己在等甚麼,但卻又會一等再等,等到「答案」的到來。
這種狀態,有人會視之為虛空與寂寥,人生沒有目標方向可尋,亦無既定等待的「對象」,就像石頭從山上滾了下來,但不知去向,不知終點,這種無意義的滾動,是存在的荒謬。

而在《六個尋找作家的角色》這部劇作中,作者則探討「存在」的真實性,以劇本而論,是荒誕的。因為一個舞台本來就是一個表演的場地,但劇中的角色卻極力希望將這場虛幻的遊戲演成真實的故事。雖然大家明明都知道是假的,但又努力地希望演成真的。

布希亞認為透過「擬仿」,塑造了一種超真實(hyper-reality)的幻境,在這裡真實與非真實區別已經模糊不清,非真實超過了真實,比真實還真實,這點亦與《六個尋找作家的角色》所呈現的真實與錯亂的意象有異曲同工之妙。

「這六個人物自己走上舞台,盡情發洩自身的感情,在他們相互的激烈爭鬥中,在分別地或集中地與無法理解他們的劇團導演及演員們進行的爭鬥中,一下子找到了最初在他們身上想找而未能找到的那個所謂普遍意義。」
《六個尋找作家的角色》前言

在《六個尋找作家的角色》中,故事中的兒子以實際的時序回憶整件事情的經過,而這件事情本身是沒有意義的,情節發展也是欠缺邏輯而沒有相互關係的,但作者解釋到演員們不自覺地表現出他們強烈的情感和經歷的痛苦,並將舞台原原本本地展現在舞台上。(肖天佑,1976)

真亦有時假亦真,當真真假假都無法辨清的時候,我們所處於的世界又是一個怎樣的「存在」?引申下去,如果我們連這個世界都無法認清的時候,荒誕的概念亦從此而生。


三、形式

荒誕劇的另一個特點是表現的主題與內容具有一致性,為了強化演出效果,荒誕派作家往往採用反傳統的方式,透過極端誇大、違反邏輯、支離破碎的影像來呈現荒誕的意象。(郝振益,1994

「艾:我們在一起多久了?」
「佛:我記不得了,也許是50年吧。」
《等待果陀》第二幕

在上述的對話中,我們不能直接揭示人物的歷史,只能從一些零碎的對話中理解,而他們這麼長時間一起的原因和意義亦不需要明白,在劇中亦找不到其他細節描述。而且從佛拉迪米爾模糊不清的回答,我們亦可以看到故事中的主角缺乏時間感。

「艾:我們走吧」
「佛:不能走」
「艾:為甚麼?
「佛:我們在等待果陀。」

以上的對話,在《等待果陀》一劇中一共出現了六次,可視作語言的重複。而這種語言的重複是結構重複的輔助,強化了人類生存的單調性和靜止狀態的表達。

而在《等待果陀》以等待開始,以等待結束,也是以同一報信男童作為傳訊者,亦符合荒誕戲內開始與結束都以無稽的狀態呈現的特色。


而在《六個尋找作家的角色》,以一個沒有佈景、黑沉沉、空蕩蕩但已開始表演的舞台作為開首,表達出一種凌亂及空洞的感覺。其後父親、母親、繼女、兒子、男孩、小女孩和帕琪夫人以闖進劇場,在一輪胡鬧之後,他們登上舞台,卻為著各種各樣的原因沒有順暢地演出下去,最後小女孩墜進水池,男孩在樹景後的一聲槍響後死了,最後繼女跑向舞台一側的台階,發出一陣刺耳的笑聲,然後再穿過觀眾通話慢慢通失,故事亦隨著她漸漸變弱的笑聲而落幕。男孩在槍聲後身亡,是一幕極端誇大、違反邏輯、支離破碎的影像;而從故事的開首和結局的結構來看,整份劇本或表演一直都沒有完成,符合荒誕的意味。



四、修辭方法

在《等待果陀》一劇中,反邏輯、反常規語言的運用也是配合劇目荒誕性的工具。貝克特在劇中顯示了語言作為交流工具的失敗,言語缺乏連貫性,許多對話都以疑問句的形式出現,而回答者又往往有答非所問的情況出現。

「艾:那麼我們呢?」
「佛:你說甚麼?」
「艾:我說,那麼我們呢?」
「佛:我不明白」
「艾:我們是從哪兒過來?」
「佛:過來?」
「艾:好好想一想。」
「佛:進來?爬著進來麼?」

《等待果陀》第一幕

一個人物的提問或請求需要多次重覆才得到注意及回應,這個修辭方式在荒誕劇常常被用到,而在《等待果陀》一劇中則十分明顯。

至於隱喻方面,對於「果陀」這個角色,很多年都有不同的想像。有不少人認GodotGod"的化身,也即是說人等待的是上帝的來臨;甚至有評論指「果陀」可以比喻成香港的民主,但其實作者自己也不清楚Godot到底是甚麼,但這其實並不重要,正如諾貝爾文學獎頒獎詞說明貝克特之所以得獎的理由所說:「等待果陀簡單指出人類面對永遠的不可測的等待,所作的形而上的抉擇。」至於選擇是甚麼,等待對象為何物,其實並不重要。




而在《六個尋找作家的角色》,劇中人的對白亦甚有玩味,其中,下文抽取了父親幾段的對白作分析:

父親:「我們的戲在我們身上,我們就是戲。」
父親:「她不是一個女人,而是一個母親!」

上述兩句對白可以看到作者對於對白用字的認真,戲在「我們」身上,「我們」就是戲,是將戲由外到內,再由內到外的一種表現,但透過父親這種瘋癲的狀態中表達出來,真實中又顯出不真實;而劇中的父親在介紹她妻子的時候,強調她不是一個女人,而是一個母親,亦定義了她真實的角色。

六、局限

本文原希望探討《等待果陀》於現今社會的意義及對現代人生活模式的反思,並以古羅馬的修辭學切入,仔細研究《六個尋找作家的角色》的修辭,但由於篇幅所限,所以未能一一盡錄,儒生不才,只能盡力將所學歸納。

七、討論

有人說,香港社會愈來愈傾向單性化的發展,只將一切的價值投進經濟計算之中,並不斷侵佔其他人的資源,這樣的情況其實不比真實戰爭可怕,但更可怕的是,如果我們都像《等待果陀》中的角色一般只是默默地等待,默不作聲,後果也許就會如魯迅先生所言的:「不在沉默中爆發,就在沉默中滅亡。」,而「要反抗這時代的沉淪,我必須首先能存在地不沉淪;作為大學生,作為社會的公民,我們應勇於表達自己的意見,集結大家追求社會公義的聲音。」



八、結論

「人的偉大不在征服別人或獻身無理,而在於他決心要比環境更堅強。假如他的環境是無理的話,他只有一個方法來克服它,那就是使自己本身要合理。」(卡繆 <真理之夜>)

荒誕劇場的出現,可以說是一種對於社會不公無理的反抗,儘管現今社會沒有實質的戰爭,沒有像第一次、第二次世界大戰一般的大規模生靈塗炭,但荒誕劇場以至荒誕主義提出的思考問題,我們思考,《等待果陀》將「等待」與「人生意義」扣上,讓讀者反思人生的真義,反思自己在等待甚麼,需要甚麼;而《六個尋找作家的角色》則讓讀者反思到「存在」的真實性,反思身處的世界的合理性。

The Death of Ivan Ilyich


The Death of Ivan Ilyich

Introduction

Life can only be understood looking backward. It must be lived forward.”
(The Curious Case of Benjamin Button, 2008)

Borrowing the quotation from “The Curious Case of Benjamin Button”, better understanding can be developed for the novel by Tolstoy, one of the greatest and most influential Russian writers, to have a review of Ivan Illych’s whole life by looking backward, and find the drives for our lives to live forward.

 In this essay, Tolstoy’s text on “The Death of Ivan Ilych” will be analyzed with the discussion about death and the meaning of life, and the discussion will be extended from the viewpoint of an individual to the vitality of a city so as to reflect the current society’s dying status.

Brief Summary of the story

“The Death of Ivan Ilych” takes place at the chronological end of the story. And then it takes the audience to a few decades earlier to have a review of Ivan Ilych’s life.  

As described by Leo Tolstoy, Ivan Illych is a diligent, obedient and so-called ordinary man. Ivan is the very model of a modern middle-class man. He attained the classic middle-class job: an official in the sprawling, faceless court bureaucracy of St. Petersburg, in his case at the Court of Justice. (Shmoop Editorial Team, 2008) He does what he is supposed to do, lived up by the expectations of others and the society, while he was not searching for any kind of truth. Therefore it was described as the most ordinary but most terrible.

There are 12 chapters for the whole book. The first one is an introduction about the whole text. Chapter 2 and 4 paints out the picture of Ivan Ilych’s childhood life, from the development of his professional career in the court and his marriage, to later his illness. He was a well-balanced boy in various aspects, after attending the law schools he climbed up his career ladder step by step as a legal official, and later he met his wife and get married without any feeling of love. It is for a period of more than 40 years.

Starting from Chapter 5, the development of the illness was presented, and the both the psychological and physical stage of dying was described. It recounted from the final declined and agonized death to the religious light.

Applying Kubler-Ross' Five Stages of Dying, Ivan Ivan Ilych first wanted to escape from the worries and further imagination from his denial and isolation stage.

In the depth of his heart he knew he was dying, but not only was he not accustomed to the thought, he simply did not and could not grasp it. (6.2-3)

Ivan Ilych entered the stage of anger, blaming the God for imposing this kind of misery and pain to him, and expecting an answer from the desperate little hope.

"Why hast Thou done all this? Why hast Thou brought me here? Why, why dost Thou torment me so terribly?" (9.10-12)

Then he entered into a dialogue with the God, discussing the meaning of his life. And Ivan Illych first realized that he may not have done anything meaningful during his whole life.

By looking back to his life, he entered into the stage of bargaining, in the way that he was trying to defend his life as meaningful and fruitful.

“And his professional duties and the whole arrangement of his life and of his family, and all his social and official interests, might all have been false. He tried to defend all those things to himself and suddenly felt the weakness of what he was defending. There was nothing to defend.”

However, he failed to defend, and he is turned into a stage of depression.

“He shuddered, shifted himself, and tried to resist, but was already aware that resistance wasimpossible, and again with eyes weary of gazing but unable to cease seeing what was before them, he stared at the back of the sofa and waited -- awaiting that dreadful fall and shock and destruction.”

Learning that he was impossible to turn back and fight against the force, he could only wait for the moment.

Finally, the stage of acceptance was reached, with his understanding of the inevitability of death and confession accompanied with a sense of relief.

When the priest came and heard his confession, Ivan Ilych was softened and seemed to feel a relief from his doubts and consequently from his sufferings, and for a moment there came a ray of hope. (11.23)

"It is finished!" said someone near him. He heard these words and repeated them in his soul.
"Death is finished," he said to himself. "It is no more!" (12.13-14)

In the midst of a sigh, and stretched out, the story ended. 


Selected Text for detailed analysis

In order to develop a more comprehensive understanding of Ivan Ilych, the text in Chapter 3 will be selected for detailed analysis, as it marked the toughest years of Ivan Ilych. And through looking at the way Ivan Ilych handled the problems of unpleasantness, his character of orderliness was further confirmed.

To begin with, unpleasantness has followed Ivan Ilych into his official refuge.

“He was expecting to be offered the post of presiding judge in a University town, but Happe somehow came to the front and obtained the appointment instead.” (3.1)

And his complaint only made matter worse. Therefore instead of confronting against the injustice till the end, Ivan Ilych decided to seek a new position. And over the period of searching and trialing, he has endured the pressure from his family, but he lived without change.

“Ivan Ilych had unexpectedly obtained an appointment in his former ministry which placed him two states above his former colleagues besides giving him five thousand rubles salary and three thousand five hundred rubles for expenses connected with his removal. All his ill humour towards his former enemies and the whole department vanished, and Ivan Ilych was completely happy.” (3.11)

        From the above text, the pattern of Ivan Ilych’s life is illustrated with his carefree personality. Facing the injustice, he tried to complain, but soon return back to his confort zone. After the sudden change of Ministry of Justice’s administration, he restored the previous fortunate, and restored his original life, without any change. As described in the text, it is “vanished” and he was “completely happy”.

        His growing and voluntary isolation was illustrated in the way that he increasingly ignored the drawbacks of his life and focus only on his ideal form of life.

“Everything progressed and progressed and approached the ideal he had set himself: even when things were only half completed they exceeded his expectations.” (3.12)

As described in the text above, Ivan Ilych perceived that everything is good even if there is any drawback. And in fact, Ivan’s official life resembles the pattern of his life which is conducted under clear, simple and consistent rules. He repeated the similar pattern of life day after day, from waking, going to the court and returning home for guest or alone. As described in the text, this was neither dull nor amusing.

In this chapter, Ivan’s pleasure for ambition was also well-illustrated below.

“Ivan Ilych's chief pleasure was giving little dinners to which he invited men and women of good social position, and just as his drawing-room resembled all other drawing-rooms so did his enjoyable little parties resemble all other such parties.” (3.20)

Also, the argument with his wife intensified and further confirmed his isolation from his unpleasantness.

It was a great and disagreeable quarrel. Praskovya Fedorovna called him "a fool and an imbecile," and he clutched at his head and made angry allusions to divorce. (3.21)

But the dance itself had been enjoyable. The best people were there, and Ivan Ilych had danced with Princess Trufonova, a sister of thedistinguished founder of the Society "Bear My Burden". (3.22)

From the above text, the desire of attaining respectful social status is well-described. Also, the argument with his wife intensified and further confirmed his isolation from his unpleasantness. In some sense, the “Feelinglessness” of Ivan Ilych can be seen through his indifference to various matters or problems, even having a big quarrel with his wife, he soon could be recovered with other little things. Following this analysis of his personality, more discussions will turn to the meaning of death and life with the reference by the text.

Death and meaning of life

What is the meaning of life? Do we really know what we are really looking for in our life?

The truth is, once you learn how to die, you learn how to live.” (Mitch Albom, 1997)

Looking back Ivan Illych’s life from his death, one of the most fundamental and practical questions was sparked out in my mind, that’s about the true meaning of life, the true goals in our life.

Even in this day and age, Ivan Illych can be regarded as a so-called “role model” in our society, in the way that he fulfilled the expectations of the external sectors such as its family, the society and so on.  

Even when he was at the School of Law he was just what he remained for the rest of his life: a capable, cheerful, good-natured, and sociable man, though strict in the fulfillment of what he considered to be his duty: and he considered his duty to be what was so considered by those in authority. (2.4)

For a brief summary over the past four decades of Ivan’s life, the following chronology is organized:

1837 – Birth of Ivan Illych
1850s – Education in the School of Law
1859 – Graduation from the School of Law
1859 – 1864 – Stepping as an apprentice official for the government
1864 – Transfer and promotion to court investigator
1866 – Marriage to Praskovya Fyodorvna Mikhel
1867 – Birth of daughter, Liza; Promotion to prosecutor
1869 – Birth of son, Vasily
1880 – Change the work under the Ministry of Justice

Autumn 1881 – Consultations with doctors about the on-set of disease
January 1882 – Worsening heath
1 February 1882 – Beginning of the final agony
4 February 1882 – The death of Ivan Illich 


In fact, Ivan’s whole life is regarded as ordinary and unremarkable.

"Ivan Ilych's life had been most simple and most ordinary and therefore most terrible."(2.1)

Everything seemed so smooth for most parts of his life, say, he graduated from the Law School and found a relatively stable job, he got married and has son and daughter, he attained social status with its occupation. In spite of some small obstacles and unpleasantness, such as the failure for his marriage, he could respond it by increasing the isolation from the source of discomfort, such as moving more and more to his work. Overall speaking, everything seemed perfect and complete, nevertheless, when death approached him suddenly and quietly, Ivan Ilych first realized that his whole life is empty in just a few months.

“Without work, all life goes rotten. But when work is soulless, life stifles and dies.”
(Albert Camus)

In face of death, Ivan Ilych was forceless to change and return, but he could only wait for what would inevitably come – death. And in some sense, may be death is the only thing he has been waiting for in his whole life. Rethinking the nature of life, the story of Ivan Ilych reminded the audience that apart from fulfilling the social expectations, we should search for our own meaning in life, and strike for the chosen goals before it is too late to regret, and not to only wait for death.  


Spiritual Life and Physical Life

The death of Ivan Ilych marked the end of the physical life of the character, but it also marks the start of a spiritual life.

“True life is the appearance of consciousness outside the boundaries of space and time. It always exists.”
(Leo Tolstoy, 1906)

From this sentence on Leo Tolstoy’s writing on “Recognizing the Spiritual Principle”, the faith that people would continue to grow spiritually up is well-illustrated. In his view, death is merely a transition from life into death, from one form to another form.

“I am dead – my spirit has stopped living in my body, but my real “I”, my spirit, will continue to live in other beings who understand me.”
(Leo Tolstoy, 1910)

Similar to The Death of Ivan Ilych, the end of Ivan’s physical form with the understanding of the true meaning of life is actually just another start for his spiritual life.

He sought his former accustomed fear of death and did not find it. "Where is it? What death?" There was no fear because there was no death. In place of death there was light. (12.13-14)

In this sense, he concludes that the soul is immortal, and the end of the physical life is just another start in another place.


Extended Discussion to the vitality of the city

“This city is dying, you know?” (When Heaven Burns, TVB 2011)

This popular quotation of a local television drama series has grasped my attention on the vitality of the city. Apart from taking death from an individual perspective, it is worth discussing the vitality of a city, especially Hong Kong, where our home lies.

To begin the discussion, historical context of Ivan Illych should be studied in order to develop a better understanding of the Russian city in Leo Tolstoy’s time. The work was published in 1886, when is followed by the assassination of Alexander II, a rather open-minded tsar who introduced the Emancipation of Serfs (1861) and a series of modernization reforms. The successor Alexander III was determined not to meet a similar fate of assassination. Therefore, the Tsar undid the reforms, under that autocratic rule, the police-force and other civil services were used to deal with those people opposed the laws and rules, even at grass-roots level.

Back to the work, with this historical understanding, the professional legal service provided by Ivan Illych was mainly in the Alexander II era. But his attitude towards life and his surroundings is actually dangerous, as the silence and the obedience is not a driving force push the society forward, but also driving the empire to the end of its rule in later stage, especially applying to Alexander III’s autocratic rule. From Ivan Illych’s individual point of view, he was making nothing out of his life. From a more macro-perspective, the gathering of the nothingness and silence of each individual life is a destructive power to the development of any place.

By analogy, space is a practiced area, in the way that the street geometrically defined by urban planning is transformed into a space by walkers. (De Certeau, Michel. 1984, 91-130) In this sense, the participation of civic members in the society is the key for creation of values, and it is which Ivan Illych lacks.

“Individual, isolated cases of foolish personal insanity are not as terrible as the widespread, organized, clever social insanity of our world” (Leo Tolstoy, 1910)

Putting Ivan Illych’s story to Hong Kong, ever-since the transfer of sovereignty from the Great Britain to the mainland China in 1997, not only the promise of universal suffrage has never achieved, but also there are obviously increasing self-censorship, political penetrations in various forms, such as the corruption of Hong Kong's electoral system by moving voters from its strongholds into constituencies to swing the election result. Besides, the increasing level of urban renewals and the annexations of property giants to the rural areas have reduced the possibilities of the land-use of the city, and narrowed the imagination of the citizens about our land. For example, the removal of Queen Pier has de-constructed the local recognition and blurred the developmental pattern of Hong Kong as a city, erasing the memory and struggle of the people. (Herman Yau, 2009) Recently, the penetrations even take place in local universities. For example, the over-use of police force during HKU Centenary Celebration Ceremony on 18 August 2011, the affiliation with the Chinese Communist Party in Student Unions and so on. All these can be seen as a sign before the age of repression, and also a sign of the contamination of the “One Country, Two Systems” promise.

Under the current circumstance, there are many roles we may choose to play. We can choose to be quiet like Ivan Illych, and we can choose to protest against the unreasonable rule with various means. Despite the critics towards the “Post-Eighties” for their so-called radical thoughts and behavior which destroys the social stability and harmony, the critics can be reviewed in another angle by the inspiration from Ivan Illych.

“The opposite of love is not hate, it's indifference. The opposite of beauty is not ugliness, it's indifference. The opposite of faith is not heresy, it's indifference. And the opposite of life is not death, but indifference between life and death.” (Elie Wiesel, 1986)

To Ivan Illych, his indifference to his surroundings has made his life empty. To the society, if everyone is acting like Ivan Illych, the diversity of voices, the free flow of thoughts, and eventually the vitality of the city will be erased and vanished, leading to the death of a city, and it is just like the quotation of Leo Tolstoy, which is terrible.

To sum up this part of discussion, it can be seen that the destructive power of indifference is not only imposed on individual level, but also affects the vitality of the community and the city.

Conclusion
Through the narration of Ivan Illych horribly ordinary story, The Death of Ivan Illych is an insightful piece of work that not only reminded the audience about the meaning of leading a true life, but also provoked my thinking on the current society and the our role as an individual in the society. 

2011年11月30日 星期三

體驗生活 x 北京


北京的故事,聽過很多;北京的人,聽過很多遍,今次卻是第一次踏足那個地方。作為一個歷代皇朝的心臟地帶,一個文豪匯集之地,一所所老牌大學林立,這個地方,到底會有甚麼的故事呢?

這次北京之行,有幸跟著Clive代表GEILI到當地跟不同的組織、不同的人見面,行程不算很密,但是收穫很多,很多都是意想不到的,這方面的所思所感還在組織,稍後再寫吧,先寫寫北京這個地方的體驗之旅。

短短五天的行程,我們到過五道營胡同的小店,到過五道口的café,到中關村的辦公室,也到過798藝術區逛了半個圈,到過北京大學逛逛,還到過人民大學辦「宣講會」,最後一天還有北京認識的朋友帶我到護國寺那邊吃老北京小吃。

個人覺得最可惜的,不是沒到那些著名的景點參觀,反而是沒太多時間到北京大學體驗一下當地的生活,隨行的朋友說得對,可以在北大聽一門課,吃個便飯,再到處逛逛的話感受會更深。北京大學是個沉厚的地方,始創於1898年,是百日維新的產物,那時的改革運動雖然失敗了,但卻留下了中國現代化的腳印;不得不提的是北大校園原坐落在景山東街神馬廟,大門朝向橫貫五四大街,而五四運動的發源地,就正正是北大;在日本侵華時期,國立北京大學、清華大學和私立南開大學合組西南聯合大學,看看那個石碑,赫然發現聞一多、朱自清、錢穆、陳寅恪、馮友蘭、陳省身、張伯苓、郭沫若、殷海光等等耳熟能詳的名字,而那塊風霜滿面的石碑,彷彿還活生生的告訴人們當時的故事。

而每次打的士的時候,我都會很好奇的跟當地的司機談話,也順道留意一下附近的環境。每一座城市都有每一座城市的天際線,而北京的天際線是中間低,四圍高的,整座城市形成了二環、三環、四環、五環為線,以天安門廣場為中心大盆地。有個的士司機說不少北京人都希望即使北京一座三千年的古城,它同樣也應該有當代世界上最先進的景觀與設施,因為誰都不願意活在一個靠著古老歷史回憶過活的城市。我不知道是不是真的很多北京人都有這樣的看法,不過北京城區大,即使在朝陽的中心商業區,很多摩天大樓加起來都不會給人很大的壓迫感,反而讓我有種看不透的感覺。我在想,在那些現代化大廈建成之前,那裡到底是一個怎樣的地方,住著怎樣的人呢?

北京的故事,要發現的還有很多,希望下次再來北京的時候,會有不同的發現;希望可以到更多不同的地方,發掘更多的故事。

體驗歷史與文化 @ 北京大學


北京大學是個沉厚的地方,始創於1898年,是清末百日維新的產物,那時的改革運動雖然失敗了,但卻留下了中國現代化的腳印;不得不提的是北大校園原坐落在景山東街神馬廟,大門朝向橫貫五四大街,而五四運動的發源地,就正正是北大。

從北大西門走進校園,一抬頭就可以看見兩尊峻拔巍峨的華表矗立在北大辦公樓前的草坪上,華表象徵著至高無上的皇家氣派,是圓明園安佑官的遺產之一,極具文化與歷史價值。


北京大學圖書館也是大有名堂的,它的前身是始建於1902年的京師大學堂藏書樓,現時的則為港商李嘉誠先生於北大百週年時捐款興建,現有古籍150萬冊,其中善本書17萬冊,珍稀品種和版本數千種,是中國文物價值和藝術價值的重要象徵之一。


而在日本侵華時期,國立北京大學、清華大學和私立南開大學合組西南聯合大學,在北京大學末名湖附近,我發現了一個石碑,赫然發現聞一多、朱自清、錢穆、陳寅恪、馮友蘭、陳省身、張伯苓、郭沫若、殷海光等等耳熟能詳的名字,而那塊風霜滿面的石碑,彷彿還活生生的告訴人們當時的故事。


所謂不到長城非好漢,不到末名湖,也等於沒到過北京大學一樣。末名湖是北京大學校園內最大的人工湖,在清朝時附屬圓明園,被列為全國重點保護文物單位,而博雅塔則是北大有名的水塔,位於未名湖東南側,也是北大的著名景點之一。

而跟內地其他著名高等教育學府一樣,北大佔地很廣,還有很多景點值得大家探索。隨行的朋友說得對,有空的話可以在北大聽一門課,吃個便飯,再到處逛逛的話感受與體驗會更深。

老北京小吃


來到北京,又怎能不嘗嘗當地的小吃呢!北京的朋友帶來去了護國寺那邊品嘗當地的小吃,護國寺位於西城區,遊客可以在逛過王府井後到北京的購物區西單逛逛,再於那邊轉乘公車(巴士)或打的士到達。

1. 豆汁 北京本地小吃最具代表性的小吃,在清朝與民國年間極流行,被許為天下第一美味。但是跟很多外省一樣,我就對於這稱號不太理解。據說豆汁是用發酵的緣豆湯餚煮而成,口感稠黏,味道既酸又帶霉味。


2. 爆肚 說到爆肚,老北京有名的小吃,是條狀的羊肚絲,口感很嫩,而且不油不腻,配芝麻醬、醋、辣椒油、醬豆腐湯、香菜末、葱花等拌制的配料吃,倍感鮮香。


3. 艾窩窩 北京回民的風味小吃,相傳是清代乾隆皇帝為取悅愛妃而四出尋找的民間小吃。它以炒熟的桃仁、瓜仁、芝麻仁和白糖為內餡,再用蒸熟的糯米為外皮,將內餡包進外皮裏,搓成小球狀,外皮配以白糖桂花,口感清新,入口即化。

其他的老北京小吃,北京的朋友說大多都放了在這個盒子裡,主要都是一些糕點,大家可以嘗嘗啊。





2011年10月7日 星期五

《生日快樂》

「其實世上有很多的事情,以為明天一定可以再繼續做,或以為很多人一定可以再見到面;於是,我們便暫時放下了手,又或是暫時轉過身。而當某一天,時間的軌跡再次重疊,希望在心中重新點燃,也許我們又會認為日子還是這樣一天一天的過。昨天,今天,明天應該是沒有什麼不同的。可是,天意弄人,就可能會有那麼的一次,在放手的一刻,一轉身的剎那,有些事情就完全改變了。」

席慕容這段文字,會勾起大家甚麼的回憶呢?對我來說呢,我總會想起《生日快樂》這套電影,故事的主角小米(劉若英飾)和小南(古天樂飾)在不對的時間相識,注定只能在彼此的生命當中狠狠地擦肩而過,只能把愛的密碼刻在每年彼此的生日裡...

故事的女主角小米是個害羞、沒自信的女孩,而她的「男朋友」小南則是一個英俊、瀟灑的男生,也有點花心;他們因為小南出國留學而分手了,但彼此保持著「比好朋友好的朋友」的關係,互相取暖。有人說,那些年間,無論小南身邊換了多少個女朋友,他的心仍然是屬於小米的。

多少年了,他們仍然沒有放棄,小南一直在改變自己的壞性格;小米在等自己變得更自信,等有一天一切都安好,然後再一起?他們好像越走越近,好像快要重新一起了...

怎料到...有一天,小南告訴小米他要到上海結婚了,小米頓時崩潰,哭不成聲...

那邊廂...原來小南真的長大了,他學懂了愛一個人,不等於要擁有;原來他的婚訊是為了掩蓋他未期癌症的病況...他選擇自己去承受這一切一切,選擇把小米放在自己的心底裡...

常言道:「江山易改,本性難移」
但當性格改變了,悲劇的結局仍然沒力扭轉,大家有沒有感受到那種無力嗎?



2011年9月2日 星期五

《大話西遊》與《倩女幽魂》- 不想回憶卻未能忘懷的情感

「有時候我們要對自己殘忍一點,不能縱容自己的傷心失望;有時候我們要對自己深愛的人殘忍一點,將對他們的愛的記憶擱置 。」 - 三毛


看過了《大話西遊》、《倩女幽魂 3》之後,對於三毛這句說話,有更深刻的感受。


這兩齣電影都帶著沉重而不絕的宿命感,劇中的角色既要重新確認身份,亦同時背負著時代與身份叛逆的教訓,被逼看破世情,又或付出更沉重的代價。


《大話西遊》的紫霞與悟空,都妄想能擺脫仙家的身份,紫霞偷偷下凡,希望拉出紫青寶劍的意中人;至尊寶本藉月光寶盒於時空中穿梭,企圖挽留時間改變心上人白晶晶自殺的歷史,卻多番出錯,墜進了五百年前的時空。而到頭來,至尊寶輾轉知道白晶晶並非其最愛,.雖能拔出紫青寶劍,卻無法挽回在他心中淌淚的紫霞一命,只能認命戴上金剛箍,承受宿命帶來的觸痛。


至於《倩女幽魂 3》,電影甫在開場的時候,就道出一句令人深刻而心痛的對白:


「如果一段感情註定要結束,你唯一能夠做的,就是忘記,或讓她忘記。」


故事講述獵妖師燕赤霞(古天樂飾)與狐妖聶小倩(劉亦菲飾)年輕時有過一段深厚而真摰的感情。人妖殊途,獵妖師與小妖的相愛註定悲劇收場。這場人妖之戀,進一步推演了《大話西遊》中那種宿命難違的思想,帶來更沉重的戲謔。故事中,燕赤霞本可成為一代最出色的獵妖師,卻為了小倩不惜背叛師門,情願留守黑山,默默地保護她。


更戲謔的是,燕赤霞情願把小倩的記憶封印,讓自己獨個兒承受那份遺憾,卻封印不住兩人相愛的信物 - 糖果。結果,小倩與寧采臣因糖果而結緣,更共墜愛河,燕赤霞一心保護小倩,卻被他倆認定為老妖怪。縱使有緣無份,《大話西遊》的悟空最後尚能代入夕陽武士的身軀釋放隱而未宣的愛情遺憾。燕卻只能看著小倩與寧采臣交好,繼續默默地守護她。到了最後,黑山老妖追殺小倩,燕不惜犧牲自己,與黑山老妖共附一體,拔劍自腹,與黑山老妖同歸於盡。燕以自己的所有來完成對小倩的愛。


這兩齣電影的開始的時候,主角都沒想好,就匆匆地相愛起來。至尊寶到頭來才知道白晶晶並非最愛,當日對紫霞說出「愛你一萬年」的戲言已消失在失落的時空,最後只能在戴上金金剛箍前留下一樣的遺言。


燕赤霞與小倩匆匆地相愛,匆匆地離別,卻在彼此的生命中留下一生的軌跡。愛一個人很難,可是,要忘記一個深愛過的人,卻更難。


有人說,時間可以治癒所有的傷痛。然而,許許多多發生過的事,卻會深刻的畫在心中,成為無可磨滅的痕跡。不想回憶卻未能忘記,這種感覺,教人一臉惘然。








曾經有一份真誠的愛擺在我的面前,但是我沒有珍惜,
等到失去的時候才後悔莫及,塵世間最痛苦的事莫過於此。
如果上天可以給我個機會再來一次的話,我會對這個女孩說我愛她,
如果非要在這份愛加上一個期限,我希望是一萬年......

2011年8月30日 星期二

《少女小漁》- 此處安身是吾鄉?

在紙醉金迷的繁華與熱鬧當中,同時存在的,往往是過於喧囂的孤獨。正如在五光十色的大都市裡,有著各種各樣的人,而《少女小漁》所描繪的,也許跟你我一樣,都只是毫不起眼的平凡人。


故事講述小漁((劉若英飾)伴隨著唸書的男友江偉(庹宗華飾),以非法女工的身份在紐約定居。非法移民和留學生的身份,讓倆口子的生活十分艱難;一方面小漁到工廠當女工,賺取微薄的收入,另一方面,江偉也得到漁市場當苦工,以維持基本的生活。


而為了讓小漁取得綠卡,賺取更多的收入,江偉竟然單方面安排小漁與年逾60、生活頹廢的義大利裔美國「老頭」Mario假結婚,更讓她與Mario同居,以避過移民局的追查。


在這套電影中,小漁象徵著簡樸善良、柔順包容,逆來順受的中國傳統女性特質,也體現了女性為愛情犧牲奉獻的精神;至於江偉除了表達「大男人」大而無道,胸襟狹窄的性格特徵之外,亦顯露了對移民政策、福利制度以至社會階層的批判;Mario在電影中飾演潦倒的左翼作家,亦加深了對於那種對於人性與市場的批判,開拓了觀眾對於人的價值的思考。


其中故事有一幕,描述Mario到當地的福利部門申請救濟金,卻在第一階段已被退回,甚至遭受羞辱,他回應道:「除了這件事之外我沒有別的事情做。」這不但揭示了Mario無所事事的生活,加深他「老頭」的形象,亦同時帶著一種對社會公義、經濟主義的批判。


而除了對於公義與公平的批判之餘,「祖國」到底是何物呢?不管是十多年前,還是現在,華人總喜歡把自己的子女送到外國留學,甚或是移居外國;又例如九七主權移交之前,香港爆發「移民潮」,不少人寧當二等公民,也不願留在香港。而《少女小漁》所描繪的,就正正是這些故事。


每個人都有自己的故事,從小人物的視角看一個大社會的問題,從一套電影小品,亦可以參透出不同的大道理。

2011年8月29日 星期一

《滾滾紅塵》- 無力感下的浪漫



問世間,情是何物,直教生死相許
天南地北雙飛客,老翅幾回寒暑

歡樂趣,離別苦,就中更有癡兒女
君應有語.渺萬里層雲,千山暮景,隻影向誰去 ?



在戰爭動亂的時代,人們都提心吊膽地活著;國難當頭,有人會選擇奮不顧身的抗戰,亦有人會義無反顧的捍衛自己的愛情。

《滾滾紅塵》譜出的,正正就是一首亂世中的浪漫輓歌。故事講述女主角沈韶華(林青霞)愛上日偽政權的文化官章能才(泰漢),義無反顧的獻上自己的所有。面對著一個心中只有自己,沒有別人,而且三心兩意,沒有目標的男人,雖然她失去了信心,但最後仍然寸步不離,仍然將僅有的那張逃難的船票給了心愛的他,讓他離開中國,讓自己獨自去面對寂寥的漫漫長路。


看似是負心漢的男主角章能才,終生庸庸碌碌,在國難當前的時候當上「漢奸」保命、在逃難的時候連自己所愛的人也守護不來,只能繼續眼睜睜的看著自己與韶華天各一方,只能繼續在彼岸苛且偷生地過日子。但到了最後,他並沒有放棄自己的承諾,沒有放下對韶華的思念,在局勢平穩後回去找她,可是她早已遠去,消失在人海......留下的,也許只有這句傷感的讀白:「她將生命換給我,她最傷心時只有她自己,也許唯一值得安慰的就是整個民族陪她一起受難。」



而處身亂世之中,動蕩的局勢令未來變得遙不可及。有人說:「如果只剩下失去可能性的未來的話,那麼現在也會失去了存在的意義。」;也有人反問:「現在不正是為了未來而存在的嗎?」


在動亂的時代,人們沒有權利去選擇自己的命運,也不清楚自己的未來。就像《滾滾紅塵》這套電影中,韶華明明知道自己的愛情不會有結果,沒有將來,但她仍執著,且義無反顧的投入。愛一個人很難,要愛那樣子的王八旦更是不容易。也許這樣很傻,但那怕要守護的「現在」沒有未來,那怕只是京華春夢,那怕只是數秒的時刻,能夠活在當下,能夠擁著心愛的人,也許已經是韶華最大的幸福。



現在也好,未來也好,任何事,也許都只是為那個人的好吧。







起初不經意的你,和少年不經世的我
紅塵中的情緣,只因那生命匆匆不語的膠著


想是人世間的錯,或前世流傳的因果
終生的所有,也不惜換取剎那陰陽的交流


來易來、去難去,數十載的人世遊
分易分、聚難聚,愛與恨的千古愁
本應屬於你的心,它依然護緊我胸口
為只為那塵世轉變的面孔後的翻雲覆雨手


來易來、去難去,數十載的人世遊
分易分、聚難聚,愛與恨的千古愁
於是不願走的你,要告別已不見的我


至今世間仍有隱約的耳語,跟隨我倆的傳說
滾滾紅塵裡有隱約的耳語,跟隨我倆的傳說

2011年6月24日 星期五

「生日快樂」


3…2…1...

倒數的時候,到了最後,人們總是在喊著這個數字…

終於來到生日的日子,電話中,傳來了生日快樂這數個字,嘻嘻...

每當生日快到的時候,我總會開始陷入一種焦慮,那是一種既興奮又注定要受傷害的氣氛嗎?還是一種忐忑的感覺?

想起三年前的這個時候,跟凱琳和Carmen在荃灣看《納尼亞:卡斯柏王子》,還記得那時看完之後,有種莫名的觸動。那種感動,是源於戲裡所表現的一種信念,義無反顧的去相信,奮不顧身的去捍衛。

每個人總有自己相信的東西,相信神?相信自己?相信權力?相信愛情?相信命運?但又有多少人願意義無反顧的去相信,奮不顧身的去捍衛自己相信的呢?

而我呢?大概我連自己相信甚麼都還沒弄得很清楚,更遑論要去做些甚麼來守護自己所相信的人或事或物了;大概每個人,每件事,不同的人都總會有不同的評價,不同的想法,而重要的,是你選擇去相信。


今年的這個這候,在荃灣吃過一頓開心的早餐,又跟凱琳去了荃灣吃晚餐。

想不到回家的時候,竟然會收到一張郵寄的生日卡,那張生日卡,只是簡單的寫上了「生日快樂」這個四個字,還細膩地用了雪條棒砌成的”HAPPY BIRTHDAY”, 配上紫色筆寫上的名字, 那一筆一劃,我都看得明白。

想起《生日快樂》中的小米,又想起張愛玲《半生緣》中曼楨跟世鈞說:「我們都回不去了...」

當事人可能以為自己的故事很壯烈,觀眾看起來不過如此;也許這個世界本來就不存在>這個故事。

走過二十歲了,踏進二十一,也意味著正在邁向三十這個年頭...

二十一這個數字,是一個開始的象徵,開始著一個新的階段...

在新階段的伊始 ,我又找到了自己所相信的了嗎?又準備好去奮力去捍衛,去守護我所相信的了嗎?


不做考慮也沒半點猶豫,我相信,這次的決定沒有錯 =)


二零一一年六月二十四日


2011年3月28日 星期一

體驗生活 x 武漢


三月的季節,正值乍暖還寒之時,春天已靜悄悄地到訪,還跳皮地跟人們鬧著情緒;三月的時間,正值新舊交替之時,我們本已靜悄悄地離開,不留一點痕跡...

走過繁花似錦的一年,或這落英繽紛的數個月,我/我每天都花了不少時間和花力去處理各種各樣的瑣事。武漢大學學生會的櫻花之約,正好讓我們把之前的煩惱放下,偷偷地溜走,閃到一個全然不同的世界,說著自己不懂的語言,過著一種不同的生活,感覺卻是比真實更真實。

三月的武漢,乃櫻花初開之時,武漢大學的櫻花大道都長滿了櫻花,在這個「櫻花節」的時份更擠滿了遊人。武大的櫻花都是日本的品種,本來是日本侵華時期種植的,以慰藉日軍思鄉的情緒。國立武漢大學,倒轉過來說是「學大漢.武立國」,據說是蔣介石統治時期提的字,那時的武大不單是閱軍的場地,更是抗日戰役的重要場所。在校史研究團的同學介紹後,發現武大的校園的格局之精緻,行政樓對著理學院,行政樓是方,理學院是圓,寓意天圓地方;文學院與法學院恩威並重;操場兩邊選用了不同的大樹,夏天的時候,長滿葉子,可作天然的屏障;整個校園被東湖環抱,背靠路珈山,有山有水。可是,置身在這場喧囂櫻花節的遊人,又知道多少背後的歷史呢?

一所校園的歷史,能夠被一浪接一浪的人海所煙沒;一個城市的歷史,亦同樣能夠被一波接一波的工程所毀滅。武漢是個大工地,到處都在修路建橋,還要興建地下鐵路,導致倒車的情況好不嚴重。那邊的的士司機說,現時武漢有兩條大橋連接各個城區,一條是長江大橋,是五十年代蘇聯時期興建的,至今一直沿用;另一條是長江二橋,是香港新世界集團興建的,每年都在大修小補。

生活在武漢這個「準大城市」裡,有時會讓人感到不知所措,又令人帶點惋惜。三峽大壩的工程,把河流兩岸的生活沖走了;武漢地下鐵路的工程,甚麼城際高速,甚麼生活圈,都把整個城市的生活都帶走了。換來的,是似曾相識的城市景貌,到處皆是。有時候人的命運,就像一枚硬幣一樣,與整個城市的命脈相連。任你怎樣竭力的改變,最終還是沒法逃離另一邊的影響。

人來人往,每個時代都有他們的人物,都隨大江東去;花開花落,這邊櫻花盛開,那邊梅花凋零,生有時、死有時.栽種有時、拔出所栽種的、也有時;而當花瓣一片一片的被撕碎,愈拉愈遠,愈來愈遠,到了最後,隨風飄散,飄落在那片失落的天空。

也許,當花兒不再哭了,也是我們離開的時候…

二零一一年三月二十八日