体脂率,杨·史云梅耶给电影创作者的10条戒律,结婚纪念日

杨史云梅耶-十戒律

1.

Remember there is only one form of ?poetry‘. The opposite of poetry is professional 泳衣写真expertise. Before you start making a film, writing a poem, painting a picture, create a collage, write吴家燚 a novel, essay etc. Only by cult五点支撑法忌讳ivating your abilit体脂率,杨·史云梅耶给电影创造者的10条戒律,结婚纪念日y for universal expression will you ensure you will produce a good film.

「诗」 的方式只要一种,而与之相对的则是表达的技艺。在开端制造电影之前,创造一首诗篇,一幅绘画,一张拼贴图,一部小说又或是论文,等等。只要当普遍性的表达才干得到满足的熏陶时,你才干够确保自己制造出一部优异的电影。

荒谬神话 Zvahlav aneb Saticky Slamenho Huberta (1971)

2.

Surrender to your obsessions. There is nothing better. Obsessions are the relics of childhood. And the most precious treasu拉洛斐云化国际res come from the depths of childhood. You need to always keep the gate to your childhood open. It is not about specific memories, it‘老到的蕾切尔s about feelings. It‘s not about consciousness, it‘s about unconsciousness. Let the inner river flow freely through you. Concentrate on it but at the same time relax completely. When making your 体脂率,杨·史云梅耶给电影创造者的10条戒律,结婚纪念日f体脂率,杨·史云梅耶给电影创造者的10条戒律,结婚纪念日ilm, you need to be 24 hours submerged ?in it‘. Only then will all your obsessions, your childhood, enter your film, without you being consciously aware of it. And your film will become the triumph of ‘infantilism‘. And that is what it‘s all about.

全身心投入到你所沉迷的吧,这是最好的办法了。这份痴迷是幼年的沉积,是埋藏于你心里深处的宝贵瑰宝。通往幼年的大门时需打开。这与特定的回忆无关,是感觉;与认识无关,是潜认识。让心里的河流自在流动大鸨鸟,聚精会神一起顺从其美,在创造时,你有必要完全浸入其间,也只要在此刻,那份痴迷和幼年才会不知觉地与你的电影相融,让其取得童真般的成功。这便是这全部的含义地址。

极乐同盟 Spiklenci slasti (1996)

3.

365体育app怎么下载安装Use animation as a magical operation. Animation isn‘t about making i体脂率,杨·史云梅耶给电影创造者的10条戒律,结婚纪念日nanimate objects move, it is about bringing them to life. Before you bring an object to life,try to understand it first. Not its utilitarian function, but its inner life. Objects, especially the old ones, were witnesses to certain happenings, people‘s actions, their fortunes, which somehow marked them. People touched them in different situations, while acting under various emotions, and they imprinted onto them these different mental states. If you want to disclose some of these hidden aspects of objects through your camera, you need to listen. Sometimes even for years. First you have to become a collector, and only then a filmmaker. Bringing objects to life through animation has to be a natural process. Life has to come from within them, and not from your 啊不要whim. Never violate objects! Don‘t tell through them your own stories, tell theirs.

像发挥魔法一般制造动画,它不是单纯的让本是停止的事物运动,而是赋予精牛其生命,不过在这之前,你有必要了先解事物的内涵。事物,特别是以往的,见证过许多事情的发作,人们的活动以及他们的命运,而这全部又为它们刻上了印记。人们在不同的状况以各样的心情与它们触摸,揉捏进了不同的精力状态。假如你想把这些隐秘部分在镜头前展现出来,那么你需求倾听,有时乃至需求好几年,但你首先要成为一个收藏家,然后才是电影人。把事物用动画的办法赋予生命有必要是一个有机的进程。这种生命有必要来自事物自身,而不是你意念的激动。永久不要违反事物!不要使用它们来说你的故事,要说它们的故事。

话的维度 Monosti dialogu (1982)

4.

Keep exchanging dreams for reality and vice versa. There are no logical transitions. There is only one tiny physical act that separates dreams from reality: opening or closing of your eyes. In daydreaming even that isn‘t necessary.

让梦与实际融合,它们之间没有逻辑的边界,存在的仅是一个及其纤细的生理动作:张闭您的眼睛。在做白日梦时乃至没有此的必要。

爱丽丝 Neco z Alenky (1988)

5.

If you are trying to decide what is more important —the experience of the eye or the experience of the body; always trust the body, because touch is an older sense than sight and its experience is more fu孙三宪ndamental. Apart from that, in our contemporary audiovisual civilization, the eye is rather tired and ?spoilt‘. The experience of the body is more authen洪金州tic, uninhabited by aestheticisation. But be aware of synaesthesis.

当你需求经过视觉或触觉来决议什么比较重要时,请相信你的身体吧。由于相对于视觉,触觉更为原始,其体会也更为实质,更何况咱们的眼睛现已被目不暇接的现代媒体“宠爱”得疲惫不堪了。身体所感受到的是更为原始且内涵的审美出现。但也需求留意感官的联动。

之恋 Zamilovan maso (1989)

6.

The deeper you enter into the fantastic story the more realistic you need to be in the detail. At that point you need to fully rely on your experience of dr穿越四四的小老婆eams. Don‘t worry about being ?boringly deive‘, pedantically obsessive about an ?unimportant detail’,documentaristic. You need to convince the viewers that everything they are seeing in your film concerns them, that it is a part of their world t被爱套牢oo, and they are submerged in it to their ears, without realising it. You need to convince them about that, through all the tricks you possess.

越是深化的描绘一个奇幻的故事,越是要掌握细节。此刻你需求完全依靠梦的体会。别忧虑所谓的冗长描绘,哪怕是那些不重要的细节,你都需倾尽全力,将之雕刻于你的印象之中,好让观看者感同身受,再去细说那些的声响,让它们不惊觉地渗透入他们的耳膜中去。

漆黑 光亮 漆黑 Tma/Svetlo/Tma (1989)

7.

Imagination is subversive, because it puts the possible against the real. That‘s why you should always use your wildest imagination. Imagination is the biggest gift the humanity received. Imagination makes people human, not work. Imagination, imagination, imagination...

幻想的才干能够推翻实际,触发无限的或许性。这便是为什么你需经常天马行空。幻想力是人类被赐予的最美好的天分。人之所以为人,依靠的不是劳动,而是幻想力,幻想力,幻想力……

花园 Zahrada (1968)

8.

Always pick themes that you feel体脂率,杨·史云梅耶给电影创造者的10条戒律,结婚纪念日 ambivalent about. This ambivalence has to be strong (deep) enough so you can walk on its edge and not fall to either side or even both at the same time. Only by doing that you will be able to avoid the biggest sin: film la these.

挑选一个让您感到困扰的主题,且蕴藏在其间的对立是铭肌镂骨的,以至于你能够在抵触锋线上独行,而不会喜爱于一方,又或是模棱两邱宏涛可。这样你的着作才干防止触碰最大的忌讳:film la these。(认识形态电影)

天然史 Historia Nat新起点楚冠胶囊urae, Suita (1967)

9.

Cultivate your creativity 体脂率,杨·史云梅耶给电影创造者的10条戒律,结婚纪念日as a form of self therapy. Such an anti-aesthetic attitude brings creativity closer towards the gates to freedom. If there is at all any purpose in creativity it is that it liberates us. No film (painting, poem) can liberate a viewer unless it didn‘t liberate 罗男堂its author first. Everything else is a question of ?common subjectivity‘. Creativity as a p邓卜方rocess of permanently liberating people.

把创造当作自我精力的愈疗,如此反美学的情绪能让艺术更接近自在之门。假如艺术有任何真理,那便是自我的解放。电影(绘画、诗篇)必先要感动它们的作者,才有或许解放观众,至于成果,就留给世人评判吧。艺术创造是人们取得永久解放的一个进程。

棺材与天竺鼠 Rakvickarna (1966)

10.

Always put the continuity of your inner vision or psychological automatism before an idea. An idea, even the greatest one, shouldn‘t ever be a sole motivation for wanting to make a film. Creative process doesn‘t mean stumbling from one idea to the next. An idea becomes a part of a creative process only when you have found the theme that you want to express and you fully underst女孩私房手艺and it. Only then will the right ideas emerge. An idea is a part of creative process, not an impulse for suddenly becoming creative. Never work, always improvise. is important for a producer, not for you. It‘s a non-binding document you should only return to when your imagination lets you down.

让你的心里意象又或是潜认识引导你吧,而不是所谓的概念。概念,即使是最有构思的,也不应该成为想要制造电影的仅有动机。艺术的创造进程并不是突发奇想,然后踉跄徜徉于概念之中。概念应是艺术创造的一部分。当你寻找到非说不可的主题而且完全了解它时,最合适的构思概念便会天然显现。切勿苦心经营,要即兴创造。剧本对制片人很重要,但对你而言,它不应是捆绑,而是当你幻想力干涸时的一份参阅文本。

最终花招 Posledn trik pana Schwarcewalldea a pana Edgara (1964)

Although I have formulated this Decalogue on paper it doesn’t mean I consciously refer to it. These rules somehow emerged through my work, they didn‘t preceed it. Anyway, all the rules are there to be broken (not avoided). But there is one rule which, if broken (or even avoided), becomes destructive to the artist: Never subordinate your personal creativity to anything but freedom. (February 1999)

虽然纸上是我编撰济南大学班花暴菊门的十条戒律,但不代表我会固执的引证它们。这些规矩是从我的着作中衍生而来的,但毕竟是后知后觉的。不论怎么,规矩的存在便是用来被打破的(而不是躲避)。不过有一条规矩,假如不遵从(乃至仅仅稍稍躲避),结果对一切艺术家都将会是灾难性的:永久别让你的艺术屈服于任何事物,除了自在。(二月 1999)

翻译:赵琪

杨史云梅耶(Jan Svankmajer),1934年9月4日出生于布拉格,学生时代钟情超实际主义艺术,学习欧洲传统木偶戏,并涉猎舞台、诗篇创造、电影等艺术领域。史云梅耶在1964年制造了他的首部动画短片《最终手段》,并于1970年参加捷克超实际主义艺术集体。其着作不限方式和资料:面包、木头、陶器乃至艺人也可被用作动画的资料与元素。代表着作有《贪吃树》(2000)、《极乐同盟》(1996)、《浮士德》(1994)、《食物》(1992) 、《波西米亚斯大林主义之死》(1990)、《生动的自画像》(1989) 等。

杨史云梅耶的荒谬梦境

时刻:2019年10月01日(周二),13:30-20:30

地址:上海当代艺术博物馆 3楼剧场

电厂贴士:本场活动免费,无需预定,请于活动开端前15分钟至剧场门口排队进场。

观众一般很难将杨史云梅耶的着作与“治好”联络在一起。这位捷克怪老头聚集的内容大多都令人感到不适,比方锋利的东西、匍匐的昆虫、新鲜的肉等。经过将正常摄像和定格动画相结合,史云梅耶刻画的超实际主义画面便游走于实在与虚拟之间,成为在深夜遇见的荒谬幻景。这些极富幻想力且引人深思的着作影响了比如蒂姆波顿、特里吉列姆、奎氏兄弟等闻名导演。10月1日下午至夜里,PSA剧场将与你一起进入杨史云梅耶的张狂大脑,探究他奥秘荒谬,又引人入胜的光影国际。

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