In the contemporary context of rapid technological change, "Masquerade" has entered the dimension of daily life from a thorough metaphysical level. "Masquerade" does not only exist in Noh and other classical dramas and the self-expression of intellectuals. It has invaded the defense line of reality with bright skins, so it is more difficult to clearly identify the distinction between the real and the illusory of modern human beings.
If the "burning" social phenomenon of the "big hunger" group represented by the female protagonist who has undergone face-changing surgery in "Burning" points more to the glossy and hypocritical visual appearance in the form of "covering" Negating the essence of dryness and poverty, trying to seize the "exposed" trend of the id brought about by contemporary ethical liberalization after social stereotyping and forcing "class mobility", then Bergman's "Masquerade" goes beyond " The sociality of "text to carry the Tao" has risen to the high-end philosophical level of the ultimate proposition of human beings.
The film tells the story of the doctor Alma gradually becoming one with each other in the process of treating the ill actress Elizabeth. The two characters are silent and chatter, one rescues the patient as a doctor, and the other listens. The attitude of the reader listens to the relentless talk. The symmetrical images of the characters are matched with black-and-white images, and the paired opposition between the split character, the external form of the images, and the converging nature of the characters undoubtedly conforms to the theme of infinite anxiety about self-identity.
Sartre's "others are hell" expounded in "Confinement" may be used as an annotation for this film. Sartre himself interprets this statement on two levels: when we try to understand ourselves, we actually use other people's knowledge of us, that is, an individual's sense of identity is completely controlled by others. As a tool of communication, language establishes the connection between the individual and the world, while Elizabeth cuts off others' understanding of her through extreme silence, and the ultimate fate of the "silent majority" is in the endless resistance to interpersonal relationships Choose the annihilation of the body, and "suicide" is considered impossible in the film, because most people cannot become a complete "island", and everyone has "a lasting desire to be finally exposed" hidden in their hearts. , "Hope to be seen through, knocked down, even submerged". Submerged in a safe group identity, "Van Gogh was a dangerous species after all."
The second level of Sartre: There are many people who are bound by stereotypes and bad habits and worry about the opinions of others, but in fact everyone has the freedom to smash hell, but the reason why they are still trapped in hell is purely their own volition, Don't want to change at all. In today's society, more and more people have become Garsan who is unwilling to go to the possibility of the light when the closed door of hell is opened, and Estelle and Ines are all full of "friends". At this level, Elizabeth is an example of trying to smash hell, but Bergman's "Masquerade" undoubtedly allows us to see the landscape outside the gates of hell, and see the story after "Gal's departure" - the Detained in the hospital as a mental illness, the superego can survive in a society full of "rhinos" only by stopping and waiting for the ego.
If you relate to the specific cases of today's society, then WeChat avatars and Meitu software are just the initial form of masks. The increasingly popular face-changing software, such as ZAO, makes illusory masks more real, thus confusing the boundaries between true and false. . Imagery can be a tool for recording reality, but it can also be a tool for transforming reality today. The so-called "image is the truth at 24 frames per second", but today, the image is more like a lie at 24 frames per second.
Face-swapping technology creates this diverse and composite image, which also reflects the way of existence of contemporary online residents. People continue to use video technology to repair themselves, and sometimes it is difficult for us to distinguish which character is the real one. Perhaps, the face that merged the mask and the flesh has become the real self.
As someone who has performed several times, I once wrote a passage, "I love the temperature of the spotlight with a fascination, and my soul is constantly roasted and dyed with hot energy, so that when the cold wind once again When the oncoming moment came, I walked into it without fear, until the heat faded, and I found that I was just a pile of soil with a very small specific heat capacity." Whenever the curtain rises, the actors change their identities and set foot on what used to be the training ground and now But it is a wilderness, a tea house, and the field of the palace. People who were friends just now suddenly become parents or enemies, and a strange feeling arises in their hearts, as if they were caught in a vortex ambush under the abyss, tearing and splitting; When we finally recognized each other's face, hated the opponent beside us with gnashing hatred, and embraced the lovers left and right with strong love, the curtain was pulled up, we saw the dead people jumping onto the stage, the lovers shyly With their hands released, the enemies clapped and congratulated each other in a friendly manner, lined up, thanked, and left. The change of identity is completed in an instant, and every time, there is always a sense of loss that falls back to reality, and the sense of loss of broken dreams fills my heart.
"Fake and true, true and false", people still ask the real self and the self in the eyes of others in a trance every time they wake up, which is the self. The light refracted by a mirror creates the bright side of the world. People are like moths to the flames. People rush to these lights that have long been distorted. , mechanically pushing away the hands that reached into the darkness.
End with Simposka's Impressions of the Theater.
I thought the most important scene of the tragedy was Act VI,
From the battlefield of the stage, the dead are raised,
Adjust wigs, robes,
The piercing knife is pulled out from the chest / the rope is untied from the neck,
Lined up among the living, facing the audience.
Individual and group bows:
white hand on heart wound
Suicide lady curtsies
chopped head nodding
Bow in pairs:
Anger stretches its arms towards submission
The victim looks happily into the hangman's eyes
The rebel walks past the tyrant without resentment
Trample eternity with golden toes
Use the brim of your hat to sweep away moral implication
Always ready to start over tomorrow
Those who died earlier entered the field in a column
in the third or fourth act, or in between the two
The miraculous return of those who disappeared
Think of them waiting patiently in the background
The costume is not taken off,
makeup not removed,
Teach me more than long tragic lines.
But what's really exciting is that the curtain slowly falls
Everything you can still glimpse from below
Here is a hand hurriedly reaching out to take the flowers
The other hand over there suddenly picked up the fallen sword
Just then the third hand, the invisible hand
Do your best:
grab my throat
"Stage Impressions"
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