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.