The nail wheel that turns fast when you are forcing a confession.
Change of perspective and composition. Close-up of the character's face, superb acting skills.
Of course, there is also the surrealist poet Antonin Artaud.
Aalto (1896～1948)
Artaud, Antonin
French drama theorist, actor and poet. The founder of French anti-theatre theory. Born in Marseille on September 4, 1896, died on March 4, 1948.
Went to Paris in 1920.
In 1926, he co-organized the Alfred Jari Theater and staged his one-act play "Burning Abdomen or Crazy Mother".
In 1931, he wrote articles such as "On Bali Drama" and "Director and Metaphysics".
In 1932, he issued the "Cruel Drama" declaration, proposing the use of drama to smash all existing stage forms.
In his collection of drama essays "Drama and Its Duality" published in 1938, he pursued a total creative drama.
He directed and acted in "The Chin Qi Family".
After 1937, he suffered from schizophrenia until his death.
French theater theorist, actor, and poet. The founder of French anti-theatre theory. Born in Marseille on September 4, 1896, and died on March 4, 1948. Went to Paris in 1920. In 1926, he co-organized the Alfred Jari Theater and staged his one-act play "Burning Abdomen or Crazy Mother". In 1931, he wrote articles such as "On Bali Drama" and "Director and Metaphysics". In 1932, he issued the "Cruel Drama" declaration, proposing the use of drama to smash all existing stage forms. In his collection of drama essays "Drama and Its Duality" published in 1938, he pursued a total creative drama. He directed and acted in "The Chin Qi Family". After 1937, he suffered from schizophrenia until his death.
Drunk
The silver-white brazier, the charcoal depression
and its inner strength, the musical
charcoal is hollowed out and released, and the bark is
busy offering its world.
The painstaking pursuit of
oneself is surpassing oneself
! Let the pyre of ice
meet the spirit that misses it.
The unfathomable ancient chase
leaks out the
sensitive sensuality in joy , fascinated
by the crystal of true singing.
Oh, the music of ink, the music
of coal buried in the ground is
gentle and heavy, saving us the
secret phosphorus that it uses.
(Tree before translation)
tree
tree and its trembling
summon the Black Forest,
shouting the Black Forest,
eating dark heart of the night. The heavy mass of
vinegar and milk, the sky, the sea, and the
firmament
all contributed to this shaking, and
it lived in the shadowed heart.
A heart burst, a hard
star split in half, jetting out in the sky, the
clear sky is melting,
responding to the loud call of the sun,
they make the same sound, the same sound,
just like the night and the tree in the abdominal cavity of the wind. sound.
(Translated by Shucai) The plane passed through the gutter at
night
, and the
rain rose to the moon;
a window on the street
revealed a naked woman to us.
In a sheepskin bag with bulging sheets
Breathing throughout the night, the
poet felt his hair
rushing upwards, growing more and more.
The dull face from the ceiling
stared at the lying bodies
between the sky and the sidewalk.
Life is a profound meal.
Poet, the thing that makes you work
has nothing to do with the moon; the
rain is fresh, and the
belly is pretty good.
Look at it like a glass rising
on all the bar counters on the earth;
life is empty, the
head is in the distance.
A poet was thinking not far away.
We don't need the moon, the
head is big, and the
world is full.
The
world is trembling in every room, and
life
gives birth to something which rises toward the ceiling.
The cards make the air float
around the glass;
the smoke of wine, the smoke of poetry,
and the smoke of pipes at night. The smoke from the sea of dreams patched together in the bevel of the ceiling of
every trembling room gathers together. Because there is a problem with life here , the same is true for the thinking belly; wine bottles collide with the heads of those gatherings in the sky. Words breed from dreams like a flower, or a glass filled with form and smoke. The glass and the belly are colliding; life is bright in the head that becomes glass.
Poets gathered enthusiastically
around the green blanket, and the
void was spinning.
Life passes through
the thoughts of a thick-haired poet.
There was only one window on the main road; when the
cards struck,
the woman in heat in the window
deliberately exposed her belly.
(Translated by the tree) Below
the ritual of the black sun
, it is like under the bitter slope,
the cruel despair of the soul,
the circle of six crosses opens,
and then down,
it is like embedded in the mother earth, not
from the coveted mother Jie
broke free in the embrace .
The black coal land
is the only wet spot
in the cracks of the rock.
The ritual is that the new sun passes from seven points
before it shoots into the hole of the earth.
There are six men,
each representing a sun,
and the seventh man
is the very stiff
sun
dressed in black and covered in red meat.
However, the seventh man
is a horse,
a horse led by a man.
But the horse,
not the man,
is the sun.
Amid
the
ripping sound of a drum and a long, weird horn ,
six men
fell asleep,
rolled past the ground, and shot
gradually like sunflowers.
Not the sun,
but a
few daffodils on the rotating ground ,
and every shot
echoed with the lower and lower gong returning
from the drum until suddenly I saw the last sun flying at a dizzying speed , the first A man, a dark horse and a naked man, naked and virgin on him. After jumping, they walked along the winding road and the bleeding horse frantically pranced on top of the rock until the six men completely surrounded the six crosses. However, the main meaning of the ceremony is precisely to destroy the cross. After the rotation, they pulled out the cross from the soil and the naked man put up a huge horseshoe on the horse's back, which had been soaked in his wound. (Translated by the tree) The nostrils of these bones and skin begging the mummies from there, the absolute darkness begins, and the figure of the lips you close it like you draw a curtain and you slide into the dream. This golden life strips you from the bones, and The flowers of false eyes
There you meet the
mummies with the light , the hands of these spindles, in
order to turn the internal organs for you,
through these hands, the terrible ghost has
obtained the face of a bird,
decorated with death, all this is
like a fluke ritual,
the chatter of the ghosts, and This gold,
your black internal organs are swimming in gold, where
I met you,
on the scorched road of blood vessels,
and your gold is like my pain.
This is the worst and most credible testimony
(translated by the tree)
Sound glass The
sound of the star rotates in the glass, the
head
is boiled in the cup, and the sky is full of vulgar
nakedness that devours the star.
A fierce and weird milk
squeezed deep in the sky;
a snail climbed up and disturbed
the silence of the clouds.
Bliss and fantasies, the entire sky
throws us a cloud of
obscene wings, a swift and wild
whirlwind, like a cloud.
(Translated by Shucai) The
street
-like streets are lively and lively
along the immoral faces, and the
squeaky cafes
uproot the roads.
Sex's hands burned the trouser pockets
and the belly boiled underneath;
all thoughts collided with each other,
and the head was not as good as a hole.
(Translated by the tree) The
endless love of
this triangle of water, it is thirsty
This invisible
lady of the road , and the mark of your mast
in this sea where I drowned me.
The news of your hair,
the shot of your lips,
this storm swept away my
tail vortex in your eyes.
In the end, the shadow, the
truce of life on the shore , the wind,
and the
terrible stepping of these people as I passed by .
When I look up at you, it's
as if the world is shaking,
and the flame of love is like
your husband's touch.
(Translated
by the tree) The bound mummy
fumbled for the door,
the dead eyes turned over on
the corpse , the skinned corpse
was rinsed in the terrible silence of your flesh.
The gold rises, throwing
at the fierce silence of your flesh
and the tree you still carry
and the dead man moving forward.
——Look, it’s like spinning spinning
in the fibers of a scarlet heart. In
this heart, the sky bursts and
the gold submerges you into the bones. It
is the hard scene of the depths
that emerges
as you move and leaves you eternally
because of you. Can't cross the bridge.
(Translated by Shucai) A
gloomy
poet, a gloomy poet, a girl’s breasts
haunt you, an
annoyed poet, life is boiling and the
city is burning, the
sky disappears in the rain,
Your feather pen scratches the heart of life.
Forest, forest, eyes blinking
on numerous pine nuts;
storm hair, poets
ride on horses and dogs.
The eyes are furious, the tongue turns
into the sky and pours into the nostrils
like a kind of blue nutritious milk;
I hang on your mouth
women, a strong jealous heart.
The performance of cruel aesthetics in the film
——Speaking from the French documentary "The Blood of the Beast"...
Shan Wanli, a researcher at the China Film Art Research Center
Last spring, I was compiling the text of the film "The Blood of the Beast" participating in the 2006 French Documentary Film Festival In the process of data, I learned the term "cruel aesthetics" for the first time. This film describes the working conditions of several large slaughterhouses on the outskirts of Paris. A large number of animals are transported here to be slaughtered every day. These animals howl like hostages, but their efforts are of no avail. The butchers whistles and humming nonchalantly and raising sharp butcher knives to them. ……. In order to get the ideal image effect, the director of the film, George Franco, chose to shoot in November in early winter. He captured the heat from the animals that had just been slaughtered in the cold air, making the real scenes of the film feel like a nightmare or even a nightmare. . Later, Franco continued this style when shooting feature films (especially "Eyes without Faces" in 1959). In addition, he used two completely different interpretation styles in the post-production of the film. One is a soft female voice that explains the scene outside the slaughter workshop, and the other is a cold male voice that explains the scene inside the slaughter workshop. The huge difference between the two The contrast reinforces the absurd and fantasy style of the film.
Although this film was not able to be screened during that retrospective, it caused me to think about the cruel aesthetics in the film. The reason that caused me to think about the problem is that in recent years, I have been teaching a brief history of documentary film in some colleges and universities. Whenever I show some films, some students are so scared to close their eyes when watching some scenes... These films include Alain Renai’s documentary "Night and Fog" (many scenes in the film, such as the scene where a naked body is pushed into a pit with a bulldozer, are creepy), and Luis Bunuel’s documentary "No Grain" "The Land" (the scene where thousands of bees sting a donkey alive is chilling) and his feature film "An Andalu Dog" (the scene in which a man cuts a woman’s eyeball with a knife) Terrible). The American film theorist Janette Sroniowski also mentioned the documentary "My Eyes" by the American director Stan Brakhage in the article "This is a Terrible Movie" in his review of "Beast of the Beast". "The Act of Seeing with One's Own Eyes" (1971, this silent film shot in the age of sound film records the autopsy process), and the Canadian director Anna Claire Boisier’s feature film "Mourir à tue- tête" (1979, can be literally translated as "Desperately Die" in Chinese).
The term cruel aesthetics originated from French dramatist, actor, poet, and painter Antonin Artaud (1896—1948). Aalto was born in a boating family in Marseille. At the age of five, he suffered from meningitis and nearly died. After that, he often suffered severe headaches and facial cramps, and had to rely on drugs or even opium for pain relief. He began to receive psychiatric treatment after he finished junior high school, and since then he often goes in and out of hospitals and nursing homes to receive various treatments. The physical suffering and pain he endured may be the key to his spiritual world. Aalto started writing poems and running magazines when he was in junior high school, and was also interested in painting and drama. On the advice of a psychiatrist, he came to Paris in 1920 and followed the most important theater workers of the time, such as Lune Po, Du Lan, and Bidoev. At the same time, he also participated in film creation activities. From 1924 to 1935, he acted in 24 films of all kinds. Dreyer and others co-produced some films. He has done many filming plans himself, but none of them succeeded.
In 1924, Aalto once participated in the Surrealist movement, but was expelled soon after. He had a fierce pen war with Breton, the leader of surrealism. His critique of reason, challenge to middle-class aesthetics, and pursuit of primitive art are consistent with surrealism, but the pursuit of surrealism is humanistic and aesthetic, while Aalto focuses on the pursuit of the essence of life. This is the only literary movement he has participated in in his life. In 1926, he founded the "Theater Alfred Jarry" (Theater Alfred Jarry) and began his theatre career. Alfred Jalli is a pioneer of Dadaism, Surrealism and even absurd drama. He is good at using provocative and rough language and a pungent sense of black humor as a weapon against society. His dramas are not logically coherent. Aalto named his theater after Jali, with the goal of using Zari as his spiritual mentor. From 1926 to 1929, the theater only performed four plays, and only performed eight shows in total. A play called "Blood spurting" was staged at the Jali Theater, which described a prostitute biting God's wrist and causing blood to flow all over the place.
From 1931 to 1936, Aalto wrote a series of drama theory articles, 13 of which were collected and published in 1938, titled "Le Théatre et son double" (Le Théatre et son double, which was also translated in Chinese as "Drama and its Some translations simply translated the title of the book as "Cruel Drama" and "Drama and its Double Image" as the subtitle). Aalto believes that the power of drama affects the formation and development of things. The drama should show the conflict between two emotions, two lives and two spiritual forces; it should use the chilling horror and all the devastating impact that occurred in the Black Death in the European Middle Ages to pounce on the audience. , Causing upheavals in the people it attacks, physical, mental and moral upheavals. This kind of drama requires the most naked exposure of people's hidden sins, which is not what the realist dramas of the past could do. Human society is inherently full of evil, and audiences must be made aware that this is their real life reality. He also believes that thoroughly exposing the evils of mankind can purify mankind. This is not a bad thing, but a thing beneficial to mankind.
In order to practice his own drama theory, Aalto created the "Cruel Theater" in 1935, and staged his self-written, self-directed, and self-acted drama "Les Cenci" (Les Cenci) in this theater. This play is adapted from the tragedy of the British poet Shelley "Qian Qi" and the novel "The Past of Italy" by the French writer Stendhal. These works are based on a real event that occurred in Italy at the end of the 16th century: 1599, the heinous Earl Francesco Qianqi killed his son, raped his wife, and insulted his daughter Beatrice. However, his money concealed all his crimes, and justice could not be done. Therefore, his daughter Beatrice had to hire an assassin to kill him. However, instead of pursuing Qian Qi’s crimes, the Pope’s Court conducted harsh interrogations and imposed capital punishment on the murderers... Aalto believes that scripts of this type can be used to "break Aristotle’s tradition of emphasizing the ethical and moral power of drama, remove the intermediate power of drama, and link drama with cruel behavior" (see Liao Kedu, Western European Drama History", China Drama Publishing House, 2002, 3rd edition, p. 513).
The "Cruel Aesthetics" advocated by Aalto evoked very limited repercussions at the time. "Qian Qi" was the only drama work of the "Cruel Theater", which ended with only 17 performances. In 1936, he went to Mexico, hoping to find the true primitive culture there. In 1937, shortly after returning to Paris, he went to Ireland to search for roots. During this period, he clashed with the police and was sent back to France to be treated in a mental hospital. In the next 9 years, he moved between a mental hospital and a nursing home. The conditions of the mental hospital during World War II were extremely poor. He was often on the verge of hunger, and various tortures such as electrotherapy made him lose his teeth, which is described as haggard. In 1946, he resumed drama creation after he was discharged from the hospital. In February 1948, he wrote to a friend in a letter: “I imagined a kind of blood theater (un théatre de sang). Every performance, the performers and those who watch the performance must follow The flesh has something to gain. We are not acting, we are acting (On ne joue pas, on agit). Theater is actually the source of creation." On March 4, 1948, Antonin Alto died of cancer (see Liu Li "Alto and His "Cruel Theater").
American scholar Susan Sontag once pointed out when commenting on Aalto and his important influence: "The modern drama of the entire 20th century can be divided into two stages, before Aalto and after Aalto." In the first half of the 20th century Among the French drama artists, no one has more influence on later generations than Aalto. The four most influential dramatists in Western drama in the 20th century are: Aalto, Stanislavsky, Brecht and Schekner ( See Li Jiang and Yu Minmei "World Drama History", International Culture Press 2000 edition). Aalto's drama theory has gradually had an influence since the end of World War II. After the end of World War II, especially after the 1960s, the influence gradually expanded, and it was even regarded as a bible by the avant-garde in Western countries. The early successors of Aalto's theory include French theater director Jean-Louis Barrault. After the 1960s, the dramatists who have been deeply influenced by Aalto's theory include British director Peter Brooke and American director Charles Morowitz. With the help of Brooke and a few friends from the Royal Shakespeare Company, the "Cruel Theater" was founded, and the name came directly from Aalto.
Aalto's cruel aesthetics not only affected the theater industry, but also the film industry. In 1948, the year Aalto died, French film director George François completed the documentary "Blood of the Beast". This film may be regarded as the intuitive application of Aalto's theory in the film. In the latter part of World War II, (perhaps because people experienced too much cruelty in the war), the influence of this theory gradually began to expand. Franche’s cruel point of view can be confirmed by the following story he told: "One day, I met an old projectionist from the Anthropology Museum. He said to me:'Mr. Franche, we have not seen each other for 19 years. Do you remember the movie about surgery that made 20 people tired and lying on the floor?'Nineteen years later, he still remembers that movie! He is used to tired movies. What he said The film is "Trépannation pour crise d'épilepsie bravais jacksonienne" by Dr. Thierry de Marte (Dr. Thierry de Marte). It’s a very scary movie with 20 people exhausted and exhausted. I have never seen something so violent. It is a very scary movie, and it is also a beautiful and poetic movie because it is so realistic."
The expression of cruel aesthetics in film is more direct than in drama, because film is more realistic than drama, at least as required by the art form of film. The same is film, documentaries are more direct than feature films, because documentaries are less fictional than feature films. For example, it is also a film reflecting the persecution of Jews by the German Nazis during World War II. Spielberg’s feature film "Schindler’s List" or Polanski’s "The Pianist" can be fictionalized, and the audience can also think that some of the scenes are Fictitious (but these fictional scenes are based on facts), but Alan Renai’s documentary "Night and Fog" and other documentaries showing similar themes are tangible images taken at the scene of the incident (whether he The ripped historical images are still real images taken by him), or to a large extent the reality itself. As for the documentary films that were shot at the scene of the incident, such as "Seen with My Eyes" and "Craniopuncture for the Treatment of Bravay Jackson's Epilepsy Crisis", they are even less fictitious. In addition, in the field of film research, violence aesthetics is closely related to the concept of violence aesthetics.
There are many films in Chinese and foreign film history that embody the characteristics of cruel aesthetics, although the film creators were unconscious when creating these films, although the concept of cruel aesthetics did not appear in the early film history. Cruel images can be seen in many movies, such as horror movies, disaster movies, bandit movies, thrillers, police movies, detective movies, suspense movies, psychology movies, war movies, etc. All kinds of cruel images have become many national movies The important content reviewed by the censorship has also become the focus of debate between audiences and critics. Aalto's experience in the film "The Crucifixion of Joan of Arc" had a great influence on the formation of his cruel aesthetics. He once wrote in the book "Drama and Its Repetition": "The most terrifying and cursed thing of our time is to indulge in form blindly, and not be like the martyrs who were burned to death in Yan Yan. A call for help is sent out in the pyre of fire." In this film (and later on the same subject by Robert Bresson and Luc Besson), Joan of Arc died in the pyre of fire. It is reminiscent of the scene where Hong Changqing died in the raging fire in my country's red classic film "The Red Detachment of Women".
Cruel aesthetics stems from cruel life. As mentioned above, Aalto's own experience made him taste the cruelty of life. What is the meaning of cruel aesthetics? Perhaps it lies in better revealing the truth of life, prompting people to think about the meaning of life, at least it can balance people's (especially those who grow up in a superior environment)'s excessive expectations of real life, and make people fully aware of the importance of being prepared for danger in times of peace. Sex, cultivate people's ability to deal with life disasters (especially sudden disasters). Throughout the ages, many literary artists have praised the beautiful nature and the beautiful world. However, in nature, there are not only gentle breeze, drizzle, and shining sunshine, but also violent storms and landslides; the human world not only has kindness and love, family friendship, but also sins and cruelty. In short, there are unpredictable circumstances in the sky and blessings and misfortunes for people. More than 2,500 years ago, the Oriental prophet Lao Tzu once pointed out: "The world is not benevolent, and all things are the humble dogs; the saints are not benevolent, and the people are the humble dogs." (see "Tao De Jing· Chapter 5") for cruel aesthetics In-depth discussion will also involve the question of whether the human nature is originally good or evil, and the ultimate meaning of human existence.
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