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所跟帖: yezi 唱对台戏 是如何练出来的   2016-06-13 08:58:12  


作者: yezi   李 安 从 ”为虎作伥“ 说开 张爱玲 的小说人物与时代背景 2016-06-14 11:19:23  [点击:399]
On my desk this morning sits the book I just ordered online, "The Story, the screenplay, and the making of the film - story by Eileen Change, screenplay by Wang Hui Ling and James Schamus'

I immidiately flipped to pages written by screen play's English translator Julia Lovell: 'About Eileen Chang and translating 'Lust, Caution' The story

"To be famous," the twenty-four-year-old Eileen Chang wrote, whith disarmingly frank impatience in 1944, "I must hurry. It it comes too late, it will not bring me so much happiness... Hurry, hurry, or it will be too late, too late!" She did not have long to wait. By 1945, less than two years after her fiction debut in Shanghai magazine, a frenzy of creativity (one novel, six novellas, and eith short stories) and commercial success had established Chang as the star chronicler of 1940s Shanghai: of its brashly modern Westerized landscapes populated by men and women still clinging ambivalently to much older Chinese habits of thought. "The people of Shanghai," she considered, "have been distilled out of Chinese tradition bythe pressures of modern life; they are a deformed mix of old and new. Though the result many not be healthy, there is a curious wisdom to it."
... ( p229 - p238)


Then I read Preface by Ang Lee.

To me, no writer has ever used the Chinese language as cruelly as Zhang Ailing, and no stroy of hers is as b eautiful or as cruel as "Lust, Caution," She revised t he story for years and years - for decades - returning to it as a criminal might return to the scene fo a crime, or as a victim might reenact a trauma, reaching for pleasure only by varying and reimagining the pain. Making our film, we didn't really "adapt" Zhang's work, we simply kept returning to her theater of cruelty and love until we had enough to make a movie of it.

Zhangh is very specific in the traps her words set. For example, in Chinese we have the figure of tiger who kills a person. Thereafter, the person's ghost willingly works for the tiger, helping to lure more prey into the jungle. The Chinese phrase for this is wei hu zuo chang. It's a common phrase and was often used to refer to the Chinese who collaborated with the Japanese occupiers during the war. In the story Zhang has Yee allude to this phrase to describe the relationship between men and women. Alive, Chia-chih was his woman; dead, she is his ghost, his chung. But perhaps she already was one when they first met, and now, from beyond her grave, she is luring him closer to the tiger...

Interestingly, the word for tiger's ghost sounds exactly like the word for prostitute. So in the movie, in the Japanese tavern scene, Yee refers to himself with this owrd. It could refer to his relationship to the Japanese - he is both their whore and their chung. But it also means he knows he is already a dead man.

.... She understood playacting and mimicry as something by nature cruel and brutal: animals, like her characters, use camouflage to evade their enemies and lure their prey. But mimicry and performance are also ways we open ourselves as human beings to greater experience, indefinable connections to others, higher meanings, art, and the truth.

copyright 2007.

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