我觉得很神奇😱
shakespearean production,就算只是globe里那种平实的、戏剧性的production,没有contexualize。。都几乎已经是某种程度上的改编。虽然演绎就是改编,但是这一点尤其适用于莎,作为英语文化canon的定海神针,当这个production并不是观众第一次看这个故事,而是怀着'what do they make of romeo and juliet this time'的心情去观看的时候,这次production确确切切地是一次演绎而不是一次创作,此时我想知道什么是shakespearean?越是演绎莎士比亚、莎士比亚的essence就越被消解,这只是一个现象,而我想到在实际行动的改编/演绎里,就算竭力想要靠近莎士比亚、还原,也只会是万千次中的一次,
泣いた
He stands on a precipice, the ruins of a castle, ignorant of what has happened. He stumbles and drops the talismanic portrait of Amida Buddha his sister gave him as the sun sets behind him in the location of the Pure Land. He is the central focus of the film, the third Cordelia, the victim of both worlds, set against impassive Nature-the realm that Kurosawa's camera, unlike Shakespeare's poetry, has inhabited
泣いた
The point of the re-construing of Shakespeare's character configurations, the splitting of them into two, finally becomes clear in the last and most powerful image of the film. Kurosawa presents Tsurumaru as "the thing itself' (III.iv. 104), man as a victim of both spheres. He was blinded by Hidetora and he is now left abandoned by Kaede's murder of his sister and nurse. They had gone to fetch his flute, his only consolation.
把暖气开得很大,不小心把自己热中暑了,就有了夏天的感觉