牺牲

油画 --娟娟流水声 大海 海鸟 ---声音
一定是每次潮来 潮退 ， 水留在弯岩里 逗留然后旋回着 在重力驱使下找寻
wait---- hope
======
What dwarf?
Oh, you know who I mean!
That hunchback!
Eh? The one Nietzsche mentioned.
-----
76
00:10:18,200 --> 00:10:20,998
And I've always felt as if...
as if the living I've done so far
hasn't actually been real life
but a long wait for it...
a long wait for something real,
something important!
What about you?
00:10:36,2
Yes, if that's what you mean.
00:10:38,
I just never knew you were
interested in that kind of problem.
00:10:
But I am! I most certainly am!
Unfortunately.
Sometimes I get
the most peculiar notions.
--------------
persona??? 前面对 not real
00:27:08,960 --> 00:27:13,272
For some reason, I started
feeling embarrassed on stage.
I was ashamed to impersonate someone
else, to play others' emotions.
But worst of all, I was ashamed
of being honest on stage.
It was a critic who first saw that.
But it wasn't sudden, not at all.
320
00:27:34,760 --> 00:27:39,276
So you mean that an actor
may not keep his ego intact?

That he must lose his identity?
322
00:27:42,440 --> 00:27:44,271
No, not quite.
What I mean is that an actor's
identity dissolves in his roles.
I didn't want my ego dissolved.
There was something in it
that struck me as sinful,
something feminine and weak.
327
00:28:02,840 --> 00:28:06,594
Aha! Feminine!
So that's what's sinful!
328
00:28:06,800 --> 00:28:10,270
I liked you as an actor, so you quit.
That's it!
===========
00:30:46,480 --> 00:30:50,268
But it's far too much!
Too much, Otto!

363
00:30:50,480 --> 00:30:53,278
I know it's no sacrifice, but...

364
00:30:53,480 --> 00:30:58,429
And why shouldn't it be?
Of course it's a sacrifice!

365
00:30:59,480 --> 00:31:02,756
Every gift involves a sacrifice.

366
00:31:02,960 --> 00:31:06,430
If not, what kind of gift
would it be?
====
From about 1478 to 1482, Leonardo had his own studio in Florence. During this time he got an important commission to paint a church altarpiece, now known as the 'Adoration of the Three Kings'. It is still not done today! The work has figures with only the light and dark areas visible as outlines. The 'Adoration of the Three Kings' shows three kings worshiping the Christ child. Leonardo changed the usual way this scene is usually viewed in the Christian faith.
Three leaders of the Chinese Christian Church[3] cite an alternate proposal for the origin of one of the Magi. They state that many Chinese Christians believe at least one of the Magi came from China. They cite anecdotal evidence about Liu Shang, the chief astrologer during the Han dynasty in China at the time that Jesus was born. Liu Shang discovered a new star the Chinese called the "king star" - which was associated with the birth of a new king. The disappearance of Liu Shang from China's imperial court for two years shortly after this star was discovered, they interpret as perhaps traveling the Silk Road to Bethlehem.
英语？？
00:58:03,360 --> 00:58:05,316
Alexander!
I can't bear it any more!
Please, please!
===========
653
01:02:44,080 --> 01:02:46,310
I think I know, now.
We simply don't want
to depend on anyone.
When two people love each other,
they don't love in the same way.
One of them is strong,
the other, weaker.
And the weaker is always the one
who loves without reckoning...
without reservation.
[卡比利亚之夜].Nights.Of.Cabiria
----1：13 oh , lord ~`
war~~ the fear of death
从此 他安然与死神下棋
拿枪 杀谁？ 孩子 风动的窗帘 一暗一明
裸体的女人 挺立的小乳房 在孩子的床 周围无目的地走动
我的镜头 如侯猎的豹子 慢慢走进 移动 平行移动
心是平静的 平静到极点
透过Adoration of the Three Kings 玻璃的 背影的走远 摄像机呢？
chance

Piero della Francesca 彼埃罗.德拉.夫朗彻斯卡 老头看的那本画册是谁的画？
again --Adoration of the Three King 映着大树 正面老头来
878
01:27:20,440 --> 01:27:24,319
Anyway, I prefer
Piero della Francesca!

879
01:28:24,320 --> 01:28:28,108
<i>As I understood Alexander's words,</i>
<i>he meant</i>
<i>that it is peculiar for a man</i>
<i>to change, of his own free will,</i>
<i>into a work of art.</i>
<i>Generally,</i>
<i>the result of all poetic striving</i>
<i>lies so far from its author</i>
<i>that one can hardly believe</i>
<i>that it is a man-made creation.</i>
<i>In the case of the actor, though,</i>
<i>the reverse is true.</i>
<i>The actor is, himself, his own</i>
<i>creation, his own work of art.</i>、
==persona 演员 actress acting drama--trauma
1：30 again 拿枪 从理疗盒 盒子中
prelude
-964
01:44:27,760 --> 01:44:31,719
put on fresh underwear,
a new jacket, even a tie.
Then I sat down in the chair
to see what I'd made,
through her eyes, as it were.
I...
I sat there...
and looked out through the window.
I had prepared myself
to enjoy the sight.
Anyway, I looked out the window
and saw...
What did I see?
Where had all the beauty gone?

All that was natural.

It was so disgusting.

All that evidence of violence!
戈黛娃夫人（Lady Godiva,或称Godgifu, 约990年—1067年9月10日）是一名英格兰盎格鲁—萨克逊的贵族妇女，依据传说，她为了争取减免丈夫强加于 ... 究竟这个故事中的戈黛娃夫人是称为Godiva还是Godgifu（「gift of God」上帝的礼物）在历史上仍是未知数。 ...
Godiva (or Godgifu) (c. 990?–September 10, 1067) was an Anglo-Saxon noblewoman who, according to legend, rode naked through the streets of Coventry in England in order to gain a remission of the oppressive toll imposed by her husband on his tenants. The name "peeping Tom" for a voyeur comes from later versions of this legend in which a man named Tom watched her ride and was stricken blind.
2007/4/24
迷失于GODIVA
1：49 花瓶振动 后面什么神动
01:48:40,400 --> 01:48:42,755
Save us, Maria!
But why?
You poor, poor man!
Why? No, not that way!
43 glasses 风铃一般
人行道 梦跑 again
1039
01:51:12,320 --> 01:51:18,077
I c-c-can't!

1040
01:51:19,960 --> 01:51:21,313
I can't!

1041
01:51:21,760 --> 01:51:23,512
Drink this.

1042
01:51:23,720 --> 01:51:25,392
No.

1043
01:51:25,600 --> 01:51:27,272
There...

1044
01:51:30,920 --> 01:51:33,275
It'll soon be over.

1045
01:51:41,520 --> 01:51:45,911
What's frightened you so, Alexander?

1046
01:52:35,320 --> 01:52:36,275
Mama!
裸舞的女人 谁 ？ 鸡
victor
1076
01:58:28,640 --> 01:58:33,395
The fact is, what I'm most tired of
is the lot of you.

1077
01:58:36,560 --> 01:58:39,120
Tired of being your nursemaid.

1078
01:58:43,520 --> 01:58:46,080
Your nursemaid and your warden.

1079
01:58:49,720 --> 01:58:51,756
Tired of wiping your noses.
============
japan
两次关的音乐？？
一段音乐 笙箫 呜呜
====
小孩在给japanese tree 浇水
10
00:05:59,200 --> 00:06:01,998
a monk named Ioann Kolov,
that he should water the tree
each day until it came to life.
Put a few stones there, will you?
Anyway, early every morning
Ioann filled a bucket
with water and went out.
He climbed up the mountain
and watered the withered tree
and in the evening
when darkness had fallen
he returned to the monastery.

18
00:06:33,200 --> 00:06:35,998
He did this for three years.
And one fine day, he climbed
up the mountain and saw
that the whole tree
was covered with blossoms!
Say what you will, but a method,
a system, has its virtues.

22
00:06:54,320 --> 00:07:00,156
You know, sometimes I say to myself,
if every single day,
at exactly the same
stroke of the clock,
one were to perform
the same single act,
like a ritual,
unchanging, systematic,
every day at the same time,
the world would be changed.
Yes, something would change.
It would have to.
==============
1176
02:20:28,000 --> 02:20:30,958
"In the beginning was the Word."

1177
02:20:33,080 --> 02:20:35,753
Why is that, Papa?

1178
02:22:17,320 --> 02:22:24,476
This film is dedicated
to my son Andriosha

1179
02:22:24,680 --> 02:22:31,836
with hope and confidence
Andrei Tarkovsky
=====
00:14:13,200 --> 00:14:15,156
Au revoir!

138
00:14:17,520 --> 00:14:18,475
What?

139
00:14:18,680 --> 00:14:20,477
What are you mumbling about?

140
00:14:20,680 --> 00:14:23,353
"In the beginning was the Word."

141
00:14:24,200 --> 00:14:27,476
But you are mute, mute as a fish.

142
00:14:27,680 --> 00:14:29,159
A little roach! (smelt)
02：05：04 回车
2.11.28----17.22
Most of the film takes place inside or around a house that was specially built for the production. The climactic scene at the end of the film is a long tracking shot in which Alexander burns his house and his possessions. It was done in a single, six minute, fifty second take, often misstated as Tarkovsky's longest shot.[
-
Sixtyish philosopher Alexander (Erland Josephson) lives in a beautiful house on an island off Sweden’s Baltic coast, with English wife Adelaide (Susan Fleetwood), teenage daughter Julia (Valerie Maitesse) and young son, known only as Gossen, or “Little Man” (Tommy Kjellvqist). It’s Alexander’s birthday, and he’s visited by eccentric bicycling postman Otto (Allan Erdawll) and smug doctor Viktor (Sven Wollter), who is “carrying on” with Adelaide. Out of the blue, a nuclear war is announced on TV - the telephones and electricity are cut off, and the air is filled with the deafening roar of passing jets. All looks bleak - but then Alexander fervently prays, asking God to avert the impending apocalypse, in return offering to turn his back on his home and family, and take a vow of silence. Next morning, he wakes to find that, somehow, the threat of annihilation has been lifted - and now it’s up to him to keep his side of the bargain...

The Sacrifice is like a compendium of all the ideas (faith, role of artist, power of nature, virtue of childhood) and images (love as levitation, a boy standing by a tree) from his previous six films. As usual, there’s a baffling rush of philosophical debate, stitched together with some of the most astonishing shots in all cinema. Watching this long film is an intermittently dazzling experience, but also somewhat unsatisfying. Just how much of what we’re watching is real, and how much is Alexander’s hallucination - we’re given clues along the way, such a bicycle being parked in a certain way, only to reappear in a slightly different place later on - is open to question. In Tarkovsky’s films, dreams are nothing if not cinematic. But piecing together the director’s “intention” seems to be missing the point. 　　费里尼的【Orchestra Rehearsal】是唯一没看完的，一群人唧唧刮刮地说话说得我头晕，流畅，太流畅了，而我亲近于涩而重的。
　　还有塔可夫斯基，我连关于他的记录片都找来了，【The Genius, The Man, the Legend--Andrei Tarkovsky】瑞典人Michal Leszczylowski拍的，大致是表现塔如何拍【牺牲】，感觉比看【雕刻时光】强多了，塔是个很在意细节和感受的人，凳子怎么摆，窗帘往哪儿飘都特讲究，讲道理却不行，【鲁伯廖夫】DVD里有他的访谈录，他居然爬到一棵树上去讲艺术和人生的意义，我脑子里蹦出两个字：耍猴。【第七封印】和【鲁伯廖夫】一比，柏格曼有必要买块豆腐一头撞死，但【雕刻时光】和【魔灯】一比，可以拔根头发上吊的是塔可夫斯基。当然，这只是我胡说。
The camera work is slow and contains all the hallmarks of Tarkovsky and Nykvist. The film features a haunting soundtrack which has three distinct pieces that stand out: the passionate aria Erbarme dich from Johann Sebastian Bach's Mattheus Passion, soothing Japanese flute music, and eerie traditional chants from the Swedish forests (in the old days farm girls used to call home the livestock from their forest pastures in this way). The film also contains several long closeups of Leonardo da Vinci's Adoration of the Magi.

The film uses long takes more than Tarkovsky's previous films. The opening, post-credits shot (a tracking shot of Alexander, Little Man, and Otto talking and walking) lasts nine minutes and twenty-six seconds, and is the longest take in all of Tarkovsky's work.[citation needed] Shots lasting between six and eight minutes are commonplace in the film, and there are only 115 shots in the entire film.[citation needed]
===========
It was out of such ideas that I decided to make The Sacrifice. The sole means of returning to a normal relationship with life is to restore one's independence vis-a-vis the material things of life and consequently reaffirm one's spiritual essence. In this film I deal with one of the aspects of this struggle for anyone living in society: the Christian concept of self-sacrifice. If one has never known such a feeling, never experienced such a desire, then, as far as I am concerned, one ceased to be a man, one begins to revert to the animal condition and becomes a strange machine, an object to be experimented with by society and the state. On the other hand, if one acquires a moral autonomy, one may discover within oneself a capacity for self-sacrifice.
不需要 妻子的hysteric
When one is hungry, one goes to a shop and buys something to eat; but when one is truly depressed, in a kind of spiritual crisis. there Is nowhere to go, except to sexologists and psychoanalysts who have no understanding of what is going on inside one. They are voyeurs and chatterboxes, who console you, soothe you and cost you the earth. They are charlatans, but terribly fashionable charlatans.
信息之奴
In my films one often finds the theme of language, whether present or absent. The fact is that the power of speech which has been given us has an absolutely extraordinary influence. It can inspire us to great or evil actions. And yet, these days, it has lost its value. The world is jam packed with empty chatter. All that information of which we pretend to have such need - consider radio and television - all those permanent infinite debates to be found in newspapers, all that is empty and meaningless. We imagine that, to survive, man has to know all kinds of things which in fact he does not need in the slightest; it's a strictly useless kind of knowledge. We shall all die beneath the weight of this garrulous information. In reality, it is better to act than to speak. As for the words, the phrases, with which we communicate - and this applies to art - they ought to be divested of all trace of passion. It is in the nostalgia that we feel for the Olympian principle, for its coldness, its classical sobriety, that resides the magic, the secret, of the great metaphysical masterpieces.
回到你自己introverted rather than the reverse.
Obviously, the artist himself is a creature of passion, but he dilutes that passion in the forms that he creates. In any case, inserting one's own emotions in a work of art is always vulgar. That's why I am so attracted to Oriental art; or else Bach, who is an ideal representative of art, or Leonardo da Vinci. Though each man most be Capable of expressing himself that he must channel his self-expression does not imply having publicly to produce a book or a film. It is this human vanity which is so typical of the West and which is not to be found in the Orient whose philosophy demands that man withdraw into himself, that he be introverted rather than the reverse.
=====================
I could see that he obviously was not very interested in lighting. To him, of primary importance were composition, camera movements, the literally moving image.
Close-ups are also strikingly rare in Tarkovskij's movies. He preferred to see the actors' movements at a distance, almost choreographed, and alway in the center of the frame.
We had special-effects people brought in from England as there was a requirement in place that the house burn down in eight minutes and ten seconds sharp. Otherwise the film cartridge would run out.
For an entire week this scene was meticulously rehearsed. We had decided to not shoot the scene under sunlit conditions, and so we were forced to get up at two o'clock in the morning, do a few test runs, and then to commence shooting the scene at a carefully selected moment just prior to sunrise.

Approximately half-way through the take, my assistant yells out, "Sven - the camera is losing speed! We got twenty..., now we're at sixteen frames per second! What shall we do?"


We received some additional funding through our Japanese co-producer, and in the end we all decided to give it another shot. Nothing is impossible, as Ingmar Bergman was fond of saying. It was his gang behind the camera here. The house was re-built!

Fortunately, it turned out just fantastic. As the smoke billowed forth from the house the sun shone right through it and generated some truly great shading on the ground. It was a lucky strike indeed that the sun appeared - entirely to our advantage, and Tarkovskij was exceedingly pleased when he saw the end result.
I also asked him why he never showed up in Rome. "I was too shy," he said, "Bergman and Fellini are way too big for me."
----------Sven Nykvist
On the Shooting of The Sacrifice

亚力山大注视着远方，辽阔的俄罗斯大地与天空交接的地方。而此时小男孩已经睡去，他对于大地的疮痍浑然不知。
“如果世间还有罪恶，不闻不问是我最大的幸福……不要惊醒我！请讲得轻些。”（普罗提诺）
或许亚力山大烧毁房屋，只是因为他把希望看得太高，高于大地之上，又或是太远，远在天空和大地的那一线，他注视的地方。或许他希望着希望本身前来与他照面，甚至拥抱，就像是怀中的马利亚。他希望希望本身如同大地一般地触手可及。
对亚力山大来说，希望是什么？“生命”，他如是说道。而当象征死亡的战争来临，他却在圣像面前饱含热泪地祈祷，“那怕是牺牲生命”。他是绝望的，因为希望是生命，生命即也是希望。亚力山大又绝望着什么？
在《向导》中，诗人谈到一种东西，律法。这种东西铁面无情，不可穿透。而塔氏片中的世界，正是被这种律法笼罩着，如同寂静的斗室，时而悄然无声，时而喧闹异常。人在其中，显得是额外的，不必要的拼贴物。而《向导》中的弥赛亚，正是律法的穿透者，奇迹。满足和关怀人的一切希望。当亚力山大点燃房子，“奇迹”降临了么？塔氏没有再说。但上帝在《牺牲》中始终是沉默的，亚历山大究竟被关进了疯人院，他被认为是荒谬的。如果，对于片中的世界来说，人的渴求，悲哀，那怕生命，都只是“火狱曾间一声呐喊”，是荒谬的，那么对于人的生存，世界又何曾不是荒谬的？生命的高贵之处恰恰是即使其被消灭，也知道自己被消灭了。而消灭生命的世界却不知道，它一无所知。对于“善”莫不关心的世界，对于人性的伟大不闻不问，一切诉求都不能得到关照的世界，其本质更为无知和荒谬。亚力山大撞见了这样一个世界，他绝望了。
当亚力山大望向那棵茁壮的树苗，他看到了“生命”，希望。他也看到了所处世界的荒谬：为了生命，他必须牺牲，那怕是选择死亡。为了希望，他必须绝望。亚力山大在死中才看到了生，就像那棵树苗，只有在大地的气味中才能触目天空的临在。而亚力山大那怕是这般绝望，却也是热泪盈眶的。

前几日看了已故俄罗斯导演塔可夫斯基的《牺牲》，一部压抑的、带有强烈宗教情感的电影，充满对当代文明的深深忧虑与绝望。其中有男主角与女仆玛利亚交合的片段，似乎象征人与神的结合，寻求灵魂的安慰与救赎。

最近在看的一本《妓女与文人》，提及远古时期的宗教祭祀活动中，就提到男女交合的内容，人们相信这其中包涵着某种神性，象征着人与自然、宇宙、永恒相结合。

当代文明的工具理性，让人只相信理性所能证实的东西，但无论是宗教信仰还是科学信仰，都是超验的，最根本的基点无法用逻辑推演去达到。

人的存在是灵与肉的共存。就像远古人对性爱的认识，不仅仅只是一种肉欲得以满足时欢愉，还意味着一种与永恒的结合。灵与肉的共存，这或许是一种平衡的存在状态。

工具理性隐含着价值基点的狭隘化的倾向，核心就是人类中心论，世界是被人类要求的对象，而忽视了人只是宇宙存在之链中的一个环节，实则是被要求的，忽视了人必须要承担的义务。就像人在性爱的欢愉中很少会想到，这欢愉只是上帝（或是规律）赋予人的，让人总是拥有繁衍行为的动力。而人却越加狭隘地以自我为中心，曲解这意义（当然这意义或许也是被我曲解的，它本身一定包含更多的内容）。

人类行为日趋世俗化，就像远古蒙昧时代祭祀中，与巫女的结合，而现今开明时代，巫女不在了，只剩下妓女了（有研究称妓女起源于远古时代的巫女）。这倒是人类精神行为日趋世俗化很好的象征。

蒙昧的时代的人类反倒拥有更宽泛的视野，虽然这并非是有意识的，而理性文明的时代，反倒让人的视野局限于自身。