等待戈多

在茫茫人海中，无论我们处于什幺位置，什幺角色，一生中都在不停地等待那个“他”。“他”或许是我们的爱人，或许是我们的希望，或许是权利、欲望、金钱以及所有可能性等等。其中符号化，不确定性，性别的模糊，以及人性的问题是我对当代问题的思考。这些在我的视点中无疑都怪诞的，于是我便在荒诞与调侃中寻找当代人的“真实性”。在趣味中体会我们的人生观。

Synopsis：

Among the sea of people, no matter where we are, or what we do, our entire life is bound to find the “him”. The “him” may be our lovers, our hope, power, money, or any other thing that we desire. The symbolization, uncertainty and vague sex of “him”, and humanity are the reflection of my thinking towards comtemperary events. In my opinion, these are all queer, so I try to find the reality of humanity among absurd and tease, and taste our philosophy through interest.

《等待戈多》创作梗概：
人与人的关系以及人的本体中产生的对当代问题和视觉的当代性问题的思考。
在作品中两个男性的光头的人物，性别模糊，人物关系复杂，我以为是当代人与人的关系的显现方式的一种。这些形象这都是当代的符号，特征，表象的特点。另外，也给人们带来视觉和感官的刺激，试图表现出当代的人的问题。
道具、背景以及人的关系，其中的可能性与不可能性对我们，对生存状态的认知通过现实，空间，去体会对未来的感受。
油桶的空间和后面的背景空间两个不同的空间，破旧的油桶表现了空间的束缚，体现人的简陋，狭隘的生存空间。黑背景表现出对未来的不确定性，以及渴望对未来的探求。
破旧的油桶里的内容还有一种废弃物，无用的象征，也正好代表两个主人公的身份，正好和作品荒诞现实主义的表现手段相符合，具有象征意义。作品中胡萝卜，油桶，人，塑料假人的种种可能性，正是人类生存状态，以及对所有可能性的探求。
3．镜头从空间、颜色的变化表现出从无到有，从黑白到色彩的变化. 对话中的趣味都做了一些尝试。
4.现实社会中的非现实空间中，精神神话的演绎。空虚中的存在，人性中的暧昧，从我的视点中无疑都是一种怪诞，也就是想在荒诞，与调侃中寻求当代人的“真实”性。在趣味中体会我们的人生观。
Director’s Statement:
The skeleton of Waiting For Godot
The human relationship ,the consideration of contemperary events, and the consideration of contemperary scenes.
In the film, there are too bare males with vague sex and complicated realtionship, who I consider as the main style of contemperary relationship. These symbols are all contemperary features. Besides, thses can excite people’s eyes and feeling, trying to show the problem of contemperary people.
2. Our feeling towards future out of the present living condistion, and possibilities and the opposite of　props, setup and human relationship.

The old can shows the tie of space, the petty shabby living areas. The dark background shows the uncertainty of future and the desire to discover it.
The old can also shows the waste, symbolizing the identity of two heroes, in accordance with with th e modern absurdism in this film. The carrot, can, people, plastic people are the discovery of people’s living condition and all possibilities.

3. The scenes changes from nonexistence to pass into existence, from balck and white to colour. I also made effort in the interest of dialogue.

4. The unreal space in real society and the spirite myths.
I consider the existence in unreality and the ambiguousness of humanity as absurd. I try to find the real humanity during absurd and tease, and taste our philosophy through interest.

4444(创建者)