未标题3号

以身体语言和镜头语言相结合的方式，对人的各种身份的存在依据，进行了深度探索的哲学影像”

Synopsis:
A probe into the existing basis of "identity".
Inspiration comes from writer's creation--In order to create lively and distinctive characters, writers go to experience what they will write about, observe the life and accumulate source material...They usually can't distinguish themselves from the created characters. Li Ning, the performer, thinks the characters are the reflection of the writer himself which exists in his self-consciousness.
,also in Chinese.

我曾经和一位作家朋友彻夜畅谈，他说他在小说中要创作许多的人物角色，为此他可谓绞尽脑汁，为了使这些角色生动鲜活，他体验、他观察、他积累……他经常分不清自己是笔下的人物还是“作家的自我”；而我则告诉他，其实他创作的那些角色都是他自己的影子，都是他大脑意识深处的某个自我，当他在写一个女人的时候，他就“变”成了那个女人.....当他刻画一个老人时他就成为了那个老人....其实所有这些人物都脱离不了作家本身的许多特征。
这次讨论也触发了我的灵感，在现实生活中我经常感觉到自己的角色、身份在不停地变换，甚至混淆（男与女、观看与被观看、灵魂与躯体……）……在冲动之下，我就开始了新剧本的创作，这其实也是一场哲学的学习---关于“存在主义”的，关于身份的存在依据的探究。我首先写的剧本其实是个分镜头的脚本：
就以那位作家朋友为主人公，在他出场之前，那些他创造的人物就已经存在了（这个创意也表明哲学家罗兰-巴特的观念，即：作家的身份是虚无和暂时的，反尔是那些人物、情节、场景....才构成了他的“作家”身份），他开始写作，笔下的场景，和人物都成为实在的景象发生着.

Director’s Statement:
A probe into the existing basis of "identity".
Inspiration comes from writer's creation--In order to create lively and distinctive characters, writers go to experience what they will write about, observe the life and accumulate source material...They usually can't distinguish themselves from the created characters. Li Ning, the performer, thinks the characters are the reflection of the writer himself which exists in his self-consciousness.
,also in Chinese.

4444(创建者)