{"id":"hs-35d1509c780dfb1d","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d","title":"人称作用史：从语法、仪式、文学、电影、艺术到第六人称装置","kind":"research_note","reviewStatus":"structurally_screened_not_individually_reviewed","language":"zh-CN","category":"声画与理论笔记","series":"前台经文式书稿-从开场开始-2026-06-18","sourceVersionDate":"2026-06-18","publishedAt":"2026-09-08","modifiedAt":"2026-09-07T18:27:17+00:00","markdownUrl":"https://a.p4theater.top/research/hs-35d1509c780dfb1d.md","editionUrl":"https://a.p4theater.top/research/data/editions/hs-35d1509c780dfb1d-e5ebd8701f1e51257cfe.md","markdownSha256":"e5ebd8701f1e51257cfeeabd83bd7e86c532aa0646757fe853616284dc588b80","markdownBytes":41084,"characters":13722,"sourceEvidenceTier":"T3_RESEARCH_SYNTHESIS_WITH_T4_HISTORY_ART_REFERENCES","sourceStatus":"active","evidenceBoundary":"本页为 07 人称阶梯的外部谱系扩展页，综合语言学、仪式、文学、戏剧、电影与视觉艺术材料，说明人称如何作为发声、召唤、观看、见证、未来接收与装置保存的位置系统发挥作用。第一/第二/第三人称可对应常规语法；零、第四、第五、第六人称在本书中为功能位，不声明为通用语言学标准。外部案例只作 T4 形式参照，不反向裁决《人类投降派》的片内事实、导演意图、人物心理、真实关系、consent、生产史或全片终极解释。","editionNote":"本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。","imageUrls":[],"links":["https://a.p4theater.top/research/hs-3e51d7911252e944","https://a.p4theater.top/research/hs-53f975ab33f5d268","https://a.p4theater.top/research/hs-d21d5ae0895423bd","https://a.p4theater.top/research/hs-ea12d0aba78f3b5b","https://a.p4theater.top/research/hs-f7d61bb4b0423cee","https://wals.info/chapter/39","https://wals.info/feature/100A","https://web.vu.lt/flf/n.kersyte/files/2023/02/Benveniste-Emile_Subjectivity-in-Language.pdf","https://www.artforum.com/features/art-and-objecthood-212437/","https://www.britannica.com/art/alienation-effect","https://www.britannica.com/art/chorus-theatre","https://www.britannica.com/art/epistolary-novel","https://www.britannica.com/art/fourth-wall","https://www.britannica.com/art/stream-of-consciousness","https://www.churchofengland.org/faith-life/what-we-believe/lords-prayer","https://www.crcna.org/welcome/beliefs/creeds/nicene-creed","https://www.etymonline.com/word/person","https://www.grammaticalfeatures.net/features/person.html","https://www.moma.org/calendar/exhibitions/964","https://www.museodelprado.es/en/the-collection/art-work/las-meninas/9fdc7800-9ade-48b0-ab8b-edee94ea877f","https://www.routledge.com/Film-Theory-An-Introduction-through-the-Senses/Elsaesser-Hagener/p/book/9781138214788","https://www.tate.org.uk/art/artworks/eliasson-the-weather-project-t12565"],"relationMethod":"literal links and image references in the public edition; no inferred semantic support","paragraphCount":539,"markdown":"# 人称作用史：从语法、仪式、文学、电影、艺术到第六人称装置\n\n本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。\n\n来源版本日期：2026-06-18\n\n证据边界：本页为 07 人称阶梯的外部谱系扩展页，综合语言学、仪式、文学、戏剧、电影与视觉艺术材料，说明人称如何作为发声、召唤、观看、见证、未来接收与装置保存的位置系统发挥作用。第一/第二/第三人称可对应常规语法；零、第四、第五、第六人称在本书中为功能位，不声明为通用语言学标准。外部案例只作 T4 形式参照，不反向裁决《人类投降派》的片内事实、导演意图、人物心理、真实关系、consent、生产史或全片终极解释。\n\n# 人称作用史：从语法、仪式、文学、电影、艺术到第六人称装置\n\n## 先给结论\n\n人称不是“我你他”三个词。\n\n人称是一套把人放进世界的机关。\n\n它的作用不是装饰句子，而是分配六件事：\n\n```text\n谁能说。\n谁被叫。\n谁被说成对象。\n谁替现场作证。\n谁在未来接收。\n谁把这一切保存、转写、排序、限制。\n```\n\n普通语法里，第一、第二、第三人称已经足够描述说话关系：\n\n```text\n我说。\n你听。\n他被谈论。\n```\n\n但一进入祭祀、祈祷、戏剧、电影和艺术，问题就扩大了。\n\n因为那里总有不说话却决定说话的人：\n\n```text\n祭坛。\n经文。\n合唱队。\n观众。\n摄影机。\n字幕。\n名单。\n未来读者。\n档案。\n算法。\nWiki。\n```\n\n它们不是普通意义上的“人”。\n\n但它们在决定人称。\n\n所以本页的核心判断是：\n\n```text\n人称不是人。\n人称是人被关系、场面、媒介、见证和未来处理之后，\n留下来的发声位置。\n```\n\n更硬一点说：\n\n```text\n人不是第一人称。\n人是各种人称经过以后，\n还必须负责的一张嘴。\n```\n\n## 方法边界\n\n需要先把边界说清楚。\n\n第一、第二、第三人称是常规语法范畴。\n\n第四人称在语言学里没有一个统一通用含义。某些语言或理论中会把它用于 obviative、另一种第三人称、间接视点、转述主体等不同问题。也就是说，“第四人称”不是一个可以随便拿来普遍套用的标准。\n\n第五、第六人称更不是常规语法标准。\n\n所以这里不说：\n\n```text\n世界上真的有固定六个人称。\n```\n\n这里只说：\n\n```text\n在仪式、文学、戏剧、电影和艺术里，\n确实存在六类功能位置。\n普通三人称说不完这些位置。\n```\n\n本书因此把它们临时命名为：\n\n| 功能位 | 不是语法标准时的含义 | 最短作用 |\n|---|---|---|\n| 零人称 | 场面、法、祭坛、舞台、银幕、镜头条件先在 | 让人还没开口就已经被安排 |\n| 第一人称 | 发声者、承认者、承担句子的人 | 让一句话有嘴 |\n| 第二人称 | 被叫到者、被召唤者、被要求回应者 | 把人从旁观里叫出来 |\n| 第三人称 | 被叙述、被观看、被归类、被处理者 | 把人变成可谈论对象 |\n| 第四人称 | 见证者、会众、合唱队、观众、镜头 | 让私人话变公共事件 |\n| 第五人称 | 后代、未来观众、复看者、后来读者 | 让事件获得后生命 |\n| 第六人称 | 装置、制度、文本、字幕、档案、数据库 | 保存并限制所有人称 |\n\n## 总图：人称不是线性，而是回路\n\n```mermaid\nflowchart TB\n    Z[\"零人称：场面先在<br/>祭坛 / 舞台 / 银幕 / 光 / 法 / 规则\"]\n    A[\"第一人称：我开口<br/>承认 / 发愿 / 供述 / 叙述 / 见证\"]\n    B[\"第二人称：你被叫到<br/>祈祷 / 召唤 / 对话 / 问责 / 直视\"]\n    C[\"第三人称：他被处理<br/>叙述 / 观看 / 归类 / 名单 / 标本\"]\n    D[\"第四人称：见证者在场<br/>会众 / 合唱队 / 观众 / 摄影机 / 法庭\"]\n    E[\"第五人称：未来接收<br/>后代 / 复看者 / 读者 / 研究者 / 迟到者\"]\n    F[\"第六人称：装置保存<br/>经文 / 礼仪 / 剧本 / 镜头 / 字幕 / 档案 / Wiki\"]\n\n    Z --> A\n    Z --> B\n    Z --> C\n    A --> B\n    B --> A\n    A --> D\n    B --> D\n    C --> D\n    D --> E\n    E --> F\n    F --> A\n    F --> B\n    F --> C\n    F --> D\n```\n\n这张图的意思是：\n\n```text\n没有纯粹的“我”。\n所有“我”都先经过场面、他人、见证、未来和装置。\n```\n\n人以为自己在说。\n\n其实每一次说话，都在被这些位置分配。\n\n## 一、人称的历史底层：面具、语法、主体和地址\n\n### 1. person 原来就不是纯粹内心\n\n英语 `person` 的词源可以追到拉丁 `persona`，常与面具、角色、身份位置相关。这个词的历史很重要：人称从一开始就不只是“内在自我”，而带着“被呈现出来的角色”和“可被听见的口”的意味。\n\n这对《人类投降派》很关键。\n\n因为我们不能把“人”想成一个封闭内核，然后外面套角色。\n\n更准确地说：\n\n```text\n人从来就在面具、声音、角色和可见位置里出现。\n```\n\n所以“我”不是内心的原点。\n\n“我”是一个人被推到可说位置后出现的声音。\n\n### 2. 一二三人称的基本语法作用\n\n常规语法中的三人称可以先简化为：\n\n| 人称 | 基本语法功能 | 深层作用 | 危险 |\n|---|---|---|---|\n| 第一人称 | 说话者 | 让一句话获得承担者 | 把承担误认为所有权 |\n| 第二人称 | 受话者 | 让一句话变成召唤 | 把召唤误认为占有 |\n| 第三人称 | 被谈论者 | 让一个人进入叙述、知识和处理 | 把叙述误认为客观 |\n\n语言学和叙述理论里常说，`I` 和 `you` 是互相定义的：我之所以是“我”，是因为我正在对一个“你”说话；一旦你开口，你也变成“我”。第三人称则不在这组直接交换里，它更像被谈论的位置。\n\n这说明一个残酷事实：\n\n```text\n第一人称不是天然拥有自己。\n第一人称要靠第二人称才能成立。\n```\n\n一个没有“你”的“我”，只是一个还没有被叫出来的潜在口。\n\n### 3. “我们”比“我”更复杂\n\n很多语言会区分 inclusive / exclusive，也就是：\n\n```text\n包括你的我们。\n不包括你的我们。\n```\n\n这说明“我们”不是温暖的集合词。\n\n“我们”本身就在分配边界。\n\n它可以说：\n\n```text\n你在我们里面。\n```\n\n也可以说：\n\n```text\n我们在说话，但你不在里面。\n```\n\n所以《人类投降派》里说“我们的演出”时，不能马上把它写成团结。\n\n它应该被拆开：\n\n```text\n谁在我们里面？\n谁被感谢为各位？\n谁被列入主演？\n谁只在特别鸣谢里低头？\n谁作为未来观众迟到地收到这个我们？\n```\n\n“我们”不是答案。\n\n“我们”是一道分界线。\n\n### 4. 第四人称在语言学中的警示\n\n某些语言学语境会把“第四人称”用于 obviative：当叙述中有多个第三人称时，有的语言会标出哪个第三人称是中心、哪个第三人称退到更远处。换句话说，“他”和“另一个他”并不等价。\n\n这对本书非常有启发。\n\n它说明所谓“第三人称对象”内部也有层级：\n\n```text\n谁是当前焦点。\n谁是远处的他。\n谁被叙述但被降级。\n谁在场却不被当前句法照亮。\n```\n\n但我们要谨慎：这不是证明本书的第四人称就是某个语言学标准。\n\n它只提醒我们：\n\n```text\n普通三人称不够细。\n被说成“他”的人，也可能还在被继续分层。\n```\n\n因此本书用“第四人称”指见证者，不是语言学裁决，而是艺术形式分析里的功能命名。\n\n## 二、历史与仪式：人称如何让人进入大于人的秩序\n\n### 1. 祭祀：人称被祭坛先排好\n\n祭祀里，人通常以为自己在献祭。\n\n但真正先出现的不是“我”，而是祭坛。\n\n祭坛先规定：\n\n```text\n谁可以站在这里。\n谁可以献上。\n谁被献给。\n谁在旁边看。\n谁会在未来继承这次献祭。\n哪些话必须照规矩说。\n```\n\n所以祭祀的人称结构是：\n\n| 位置 | 祭祀中的形态 | 作用 |\n|---|---|---|\n| 零人称 | 祭坛、方位、日历、禁忌、器物 | 人还没开口，位置已经安排好 |\n| 第一人称 | 祭司、献祭者、忏悔者 | 用一张嘴承担献祭动作 |\n| 第二人称 | 神、祖先、死者、被呼唤的不在场者 | 让不在场者进入现场 |\n| 第三人称 | 祭品、亡者故事、族谱中的人 | 把生命放进可处理秩序 |\n| 第四人称 | 会众、家族、部落、旁观者 | 让献祭不是私人行为 |\n| 第五人称 | 后代、未来继承者 | 让这次仪式跨过当前现场 |\n| 第六人称 | 礼仪文本、器物秩序、重复程序 | 保存并限制献祭如何发生 |\n\n祭祀最狠的地方在这里：\n\n```text\n人以为自己在献上东西。\n其实他自己也被献祭秩序安排。\n```\n\n这和《人类投降派》的关系是：\n\n```text\n人不是先作为完整主体进入现场。\n现场先把人排成可以被看、被问、被保存的位置。\n```\n\n### 2. 祈祷：第二人称让“我”失去封闭性\n\n祈祷不是自言自语。\n\n祈祷一出现，“你”就出现。\n\n这个“你”可能是神、祖先、圣者、亡者、未来的听见者，也可能是一个并不稳定的高处地址。\n\n祈祷中的人称作用是：\n\n| 位置 | 祈祷中的形态 | 作用 |\n|---|---|---|\n| 第一人称 | 我忏悔、我求、我感谢、我发愿 | 让人承认自己不是无事发生 |\n| 第二人称 | 神圣的你 | 让“我”被听见、被要求、被审判或被接住 |\n| 第一复数 | 我们求、我们信、我们悔 | 把私人嘴放进共同口 |\n| 第三人称 | 被代祷者、敌人、亡者、病人 | 把不在场者带入祈祷 |\n| 第四人称 | 会众的阿门、共同回应 | 让祈祷变成公共承担 |\n| 第五人称 | 以后继续说这套祷词的人 | 让祈祷超过当下说话者 |\n| 第六人称 | 固定经文、跪坐姿态、建筑回声 | 让嘴进入一套已经存在的说法 |\n\n主祷文不是一个孤立的人说“我”。\n\n它很快把人放进“我们”：我们的父、我们的日用饮食、我们的债、我们的试探。\n\n这就是祈祷的强处：\n\n```text\n它不是让一个人表达自己。\n它让一个人发现自己已经在共同欠债、共同请求、共同等待里。\n```\n\n所以祈祷的“我”不是主人。\n\n祈祷的“我”是一张被共同文本训练过的嘴。\n\n### 3. 教堂：空间也是人称机器\n\n教堂不只是装祈祷的房子。\n\n教堂本身安排人称。\n\n```text\n谁面向圣坛。\n谁站在高处。\n谁坐在下面。\n谁领读。\n谁回应。\n谁沉默。\n谁被图像注视。\n谁被回声包围。\n```\n\n教堂中的“我信”或“我们信”，不是普通意见表达。\n\n它是一种位置行动：\n\n```text\n我把我的嘴交给一套比我更早存在的词。\n我不是发明这句话的人。\n但我今天必须对它负责。\n```\n\n这可以直接回到《人类投降派》的写作主体：\n\n```text\n文章里的“我”不是私生活里的我。\n它是被现场、电影、档案、他人和未来读者逼出来的临时嘴。\n```\n\n## 三、文学：人称如何制造主体、读者和幽灵地址\n\n文学不是用人称来分类。\n\n文学用人称来改变读者站在哪里。\n\n下面按形式列。\n\n### 1. 史诗与外部叙述：第三人称制造世界\n\n史诗常用外部叙述。\n\n它的强处不是“客观”，而是制造一个大于个人的世界。\n\n```text\n人物不是自己讲自己。\n人物被叙述。\n人物被放进战争、神、家族、命运和历史。\n```\n\n第三人称的作用是：\n\n```text\n把人从私人当下里抬出来，\n放到可被传讲、继承、判断的世界中。\n```\n\n危险也在这里：\n\n```text\n一旦人被第三人称化，\n他就容易被讲述者占有。\n```\n\n《人类投降派》必须警惕这种危险。写人物时不能说“他本质上如何”，要先说：\n\n```text\n他被什么光照到。\n他被什么位置安排。\n他说话时谁在听。\n他的名字被什么名单保存。\n他的沉默被什么装置继续调用。\n```\n\n### 2. 忏悔录和自传：第一人称不是自由，而是审判台\n\n忏悔体、日记、自传、见证文学，都让“我”站出来。\n\n但这个“我”并不总是自由的。\n\n它常常像被推到审判台：\n\n```text\n我必须说。\n我必须承认。\n我必须把自己变成可被检验的文本。\n```\n\n第一人称的作用是：\n\n```text\n给责任一个嘴。\n```\n\n它的危险是：\n\n```text\n把负责变成占有。\n把“我说了”变成“我拥有真相”。\n```\n\n《人类投降派》需要第一人称，但不能相信第一人称。\n\n应该写成：\n\n```text\n我说。\n但我知道这句话不是从我一个人开始。\n```\n\n### 3. 书信体：第二人称把不在场者带到文本中央\n\n书信体的根本不是“写信”。\n\n它是：\n\n```text\n文本始终朝向一个不在场的你。\n```\n\n读者读信时会变成奇怪的第三者。\n\n他不是原收件人，却收到。\n\n这和《人类投降派》的 [第二人称错址](/research/hs-d21d5ae0895423bd) 非常接近：\n\n```text\n原本不是寄给我的你，\n通过文本或影像抵达了我。\n```\n\n书信体的人称结构是：\n\n| 位置 | 书信体形态 | 作用 |\n|---|---|---|\n| 第一人称 | 写信人 | 把自身放进等待回应的位置 |\n| 第二人称 | 收信人 | 让文本朝向一个缺席中心 |\n| 第三人称 | 被谈论的人 | 成为写信关系中的材料 |\n| 第四人称 | 偷读者、后来读者 | 让私人文本公共化 |\n| 第五人称 | 保存信件后的未来读者 | 让亲密话语成为档案 |\n| 第六人称 | 邮政、信纸、日期、存档、编辑者 | 让私人地址被保存和转寄 |\n\n书信体证明：\n\n```text\n第二人称从来不安全。\n只要被保存，它就可能落到迟到的人手里。\n```\n\n### 4. 抒情诗：第一人称常常不是作者本人\n\n抒情诗里大量有“我”。\n\n但诗中的“我”不是作者身份证。\n\n它常常是一个被声音临时造出来的位置。\n\n诗歌第一人称的作用是：\n\n```text\n把不可直接说明的感受压成一个声音焦点。\n```\n\n它不是心理档案。\n\n它是声场中心。\n\n这对《人类投降派》的前台书稿很重要：\n\n```text\n文章里的我可以很尖、很直接、很痛。\n但不能变成私生活声明。\n它是观看位置。\n它是承认位置。\n它是被电影逼出来的临时嘴。\n```\n\n### 5. 戏剧独白：第一人称暴露自己不知道的东西\n\n戏剧独白或戏剧性独白里，一个人说“我”，越说越暴露。\n\n他以为自己在解释自己。\n\n但观众听见的是他的盲区。\n\n这种第一人称的作用是：\n\n```text\n让“我”说出自己控制不了的东西。\n```\n\n这比普通自白更接近《人类投降派》。\n\n因为这里的“我”不是透明主体，而是漏洞。\n\n```text\n我一开口，\n现场就从我嘴里泄出来。\n```\n\n### 6. 意识流：第一人称被内部流动拆开\n\n意识流写作让“我”不再是整齐的判断者。\n\n念头、感官、记忆、声音、外部刺激和语法断裂一起涌进来。\n\n它的作用是：\n\n```text\n让第一人称失去行政中心。\n```\n\n这可以和“现场流”对照：\n\n```text\n意识流让内心不再线性。\n现场流让内心不再私有。\n```\n\n《人类投降派》要走得更远：\n\n```text\n不是我脑子里发生很多事。\n而是现场、镜头、别人、材料、观众和档案一起借我开口。\n```\n\n### 7. 第二人称小说：你被强行放进故事\n\n第二人称小说的强处不是“新奇”。\n\n它是把读者、角色和叙述对象混在一起。\n\n当小说说“你”时，读者会迟疑：\n\n```text\n这个你是我吗？\n是角色吗？\n是叙述者对自己的分裂称呼吗？\n是一个未来读者的位置吗？\n```\n\n第二人称文学的作用是：\n\n```text\n让读者不能安全地旁观。\n```\n\n它的危险是：\n\n```text\n把读者假装成角色，制造廉价代入。\n```\n\n《人类投降派》要避开廉价代入。\n\n它不是说：\n\n```text\n你就是片中人。\n```\n\n它说：\n\n```text\n你收到了。\n但你不是主人。\n```\n\n### 8. 第一复数小说：我们是一张集体嘴\n\n第一复数叙述很诡异。\n\n“我们”像集体，但它也可能非常暴力。\n\n它会制造：\n\n```text\n共同记忆。\n共同羞耻。\n共同隐瞒。\n共同审判。\n共同围观。\n```\n\n它的作用是：\n\n```text\n让个人声音被集体嘴吞进去。\n```\n\n在《人类投降派》中，“我们的演出”必须被小心处理。\n\n它不能自动写成共同体胜利。\n\n应该写成：\n\n```text\n我们出现了。\n但这个我们马上被人数修正、主演名单、特别鸣谢、观众感谢和低亮静默拆开。\n```\n\n### 9. 自由间接引语：第三人称里混进第一人称\n\n自由间接引语看起来是第三人称。\n\n但人物的感受、语气、判断会渗进去。\n\n它的作用是：\n\n```text\n让“他/她”里面响起一个没有引号的“我”。\n```\n\n这对《人类投降派》很有用。\n\n因为片中许多位置不是纯第一，也不是纯第三：\n\n```text\n摄影机像在看。\n但不知道是谁的看。\n声音像在说。\n但不知道归谁。\n身体像在承受。\n但不能被我们替它总结。\n```\n\n自由间接引语提供一个文学对应物：\n\n```text\n人称可以混合。\n人称可以渗漏。\n人称不一定完整归位。\n```\n\n## 四、戏剧：人称如何让观众成为现场的一部分\n\n戏剧最重要的事不是角色说话。\n\n是角色说话时，观众在那里。\n\n### 1. 面具与角色：第一人称不归演员\n\n戏剧里的演员说“我”。\n\n但这个“我”至少属于六个东西：\n\n```text\n演员身体。\n角色。\n剧本。\n导演调度。\n舞台灯光。\n观众听见。\n```\n\n所以戏剧第一人称从一开始就不纯。\n\n它不是：\n\n```text\n演员本人表达自己。\n```\n\n而是：\n\n```text\n一具身体暂时承担一个角色的我。\n```\n\n这直接帮助我们理解 [代说](/research/hs-53f975ab33f5d268)：\n\n```text\n我可以从不是原主人的声音里出来。\n但这不意味着它是假的。\n也不意味着它归新声音所有。\n```\n\n### 2. 合唱队：第四人称的古老形态\n\n古希腊悲剧中的合唱队不是简单背景音乐。\n\n它常常承担评论、见证、公共感受、恐惧和判断的功能。\n\n合唱队不是第一人称，也不是第二人称，也不只是第三人称。\n\n它更接近本书所谓第四人称：\n\n```text\n不一定直接行动。\n但让行动变成公共事件。\n```\n\n合唱队对《人类投降派》的启发是：\n\n```text\n观众不是后来才出现的消费者。\n观众作为见证位置，早就参与了事件如何成立。\n```\n\n第四部分观众席、掌声、感谢各位、我们的演出，就是这种第四人称进入片内结构的时刻。\n\n### 3. 独白和旁白：观众变成秘密收件人\n\n舞台独白让角色对观众说出其他角色听不见的话。\n\n旁白、aside、soliloquy 都会制造一个奇怪的“你”：\n\n```text\n台上角色的你不在这里。\n但观众被当作秘密听者。\n```\n\n这不是简单破墙。\n\n这是观众被放进第二人称和第四人称之间：\n\n```text\n你被说给。\n你又必须见证。\n```\n\n### 4. 第四堵墙：观众被隔开，也被制造\n\n第四堵墙不是自然存在的墙。\n\n它是剧场协议。\n\n它说：\n\n```text\n演员好像不知道观众在。\n观众好像可以安全地看。\n```\n\n一旦破墙，观众的安全位置被打断：\n\n```text\n你不只是看戏的人。\n你正在被戏看见。\n```\n\n这和 [被看见的观看](/research/hs-ea12d0aba78f3b5b) 完全同构。\n\n电影中的直视镜头、摄影机被指认、观众入画、片尾感谢，都是第四堵墙的变体。\n\n### 5. 布莱希特式间离：不让观众昏睡在代入里\n\n间离效果不是冷冰冰地拒绝情感。\n\n它是阻止观众把观看误认为自然。\n\n它让观众意识到：\n\n```text\n我正在看一个被制作的事件。\n我不是无辜眼睛。\n我必须判断我为什么这样看。\n```\n\n这给《人类投降派》一个重要判断：\n\n```text\n第二人称电影不是沉浸。\n第二人称电影是把观众叫醒。\n```\n\n你不是进入角色。\n\n你是发现自己被安排成一个迟到观看者。\n\n## 五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开\n\n电影的人称比文学更复杂。\n\n因为电影不是只有语法。\n\n电影有：\n\n```text\n镜头位置。\n视线方向。\n声音来源。\n剪辑关系。\n字幕。\n片尾名单。\n观看场所。\n回放设备。\n平台算法。\n```\n\n每一个都能改写人称。\n\n### 1. 第三人称镜头：他被看见\n\n最常规的电影观看是第三人称式：\n\n```text\n我们看见他。\n他在画面里。\n他被叙述。\n```\n\n它的力量是建立场面。\n\n它的危险是制造掌握感。\n\n观众会以为：\n\n```text\n我看见了他。\n所以我理解他。\n```\n\n《人类投降派》一直在抵抗这种危险。\n\n看见不是拥有。\n\n拍到不是结清。\n\n### 2. 第一人称镜头和 POV：我借到一只眼睛\n\nPOV 镜头让观众像从某人眼睛里看。\n\n它的作用是：\n\n```text\n把观看暂时交给一个身体。\n```\n\n但它也容易制造幻觉：\n\n```text\n我看到的，就是角色看到的。\n我进入了角色。\n我拥有了这个视角。\n```\n\n《人类投降派》的关键不是加强 POV，而是拆掉 POV。\n\n更准确地说：\n\n```text\n它让观看像第一人称，\n但又让这个第一人称不断出体。\n```\n\n对应 [第一人称出体](/research/hs-f7d61bb4b0423cee)：\n\n```text\n我看世界。\n我看见我正在看。\n我发现我正在被看。\n```\n\n### 3. 第二人称镜头：你被带进来，但你不拥有这里\n\n第二人称电影不是观众代入。\n\n它更像：\n\n```text\n镜头、声音、人物和现场一起对未来观看者说：\n你到了。\n但你迟到了。\n你看见了。\n但你不能继承。\n```\n\n这和一般沉浸式影像不同。\n\n沉浸式影像常常说：\n\n```text\n你就在这里。\n```\n\n《人类投降派》说：\n\n```text\n你像在这里。\n但你不完全在这里。\n你被叫到。\n也被限制。\n```\n\n这就是 [技术幽灵性](/research/hs-3e51d7911252e944) 的核心。\n\n### 4. 直视镜头：画面里的他忽然把你叫出来\n\n当人物看向镜头，第三人称会破裂。\n\n原本是：\n\n```text\n我看他。\n```\n\n忽然变成：\n\n```text\n他看见我在看。\n```\n\n这就是电影里最直接的第二人称风险。\n\n但要注意，不是所有直视镜头都强。\n\n真正强的不是“看镜头”这个动作，而是它是否改变观看责任：\n\n```text\n观众是否还能安全旁观？\n摄影机是否被暴露成现场的一部分？\n这次看见是否使观看者必须承认自己也在场？\n```\n\n### 5. 画外音：一个不在画面里的我\n\n画外音可以制造强烈的第一人称。\n\n但它也可能把人称拆开：\n\n```text\n画面里是过去的他。\n声音里是后来的我。\n观众在现在听。\n```\n\n这时第一人称已经被时间撕开。\n\n一个人说“我”，但这个“我”可能是：\n\n```text\n当时的我。\n后来的我。\n记忆中的我。\n伪装的我。\n已经死去后仍在说的我。\n```\n\n所以画外音天然带有第五人称问题：\n\n```text\n谁在未来接收这段后来的声音？\n```\n\n### 6. 字幕：第六人称翻译嘴\n\n字幕常被当作工具。\n\n但字幕是强大的人称装置。\n\n它决定：\n\n```text\n谁的话被写下来。\n谁的声音被省略。\n谁被标成某人。\n谁被翻译成另一种语气。\n谁的沉默被标记为沉默。\n```\n\n字幕不是透明窗。\n\n字幕是第六人称：\n\n```text\n它不说我。\n但它安排谁的话能被未来读到。\n```\n\n《人类投降派》的字幕、片尾、名单和 Wiki 继续这样做。\n\n### 7. 片尾名单：第三人称和第六人称合谋\n\n片尾名单看似只是归档。\n\n其实它非常暴力，也非常谦卑。\n\n它把人变成：\n\n```text\n姓名。\n职能。\n角色。\n鸣谢。\n场地。\n机构。\n```\n\n这是第三人称化。\n\n但名单又承认自己不能讲完一个人。\n\n这就是第六人称的边界：\n\n```text\n它保存。\n但保存不是结清。\n它列名。\n但列名不是拥有。\n```\n\n### 8. 纪录片和伪纪录片：摄影机变成片内人称\n\n纪录片里，摄影机常常被假设为见证工具。\n\n但只要摄影机影响被拍者，它就已经进入人称结构。\n\n伪纪录片、访谈、手持影像、found footage、桌面电影、手机视频更明显：\n\n```text\n人物知道镜头在。\n人物对镜头说话。\n人物利用镜头。\n镜头被当成另一个在场者。\n```\n\n此时摄影机不只是第三人称工具。\n\n它开始成为第二人称地址、第四人称见证者和第六人称装置的混合体。\n\n### 9. 游戏、互动影像与直播：第二人称被系统化\n\n游戏和互动影像经常直接叫“你”。\n\n但这里的“你”也分裂：\n\n```text\n玩家。\n角色。\n账号。\n操作者。\n观众。\n弹幕。\n平台数据。\n算法推荐中的用户画像。\n```\n\n直播更进一步：\n\n```text\n主播说你。\n弹幕回复我。\n平台保存他。\n算法决定谁能看见。\n切片让未来观众迟到进入。\n```\n\n这已经是完整的六人称机器。\n\n它说明现代媒介里，第六人称越来越强：\n\n```text\n不是人先说话，系统再保存。\n而是系统先规定什么会变成可说、可看、可传播。\n```\n\n## 六、视觉艺术：观看者如何被图像叫出来\n\n视觉艺术的人称不靠代词，而靠视线、位置、尺度、材料和展示制度。\n\n### 1. 圣像和宗教图像：图像不是物，而是被祈祷的地址\n\n宗教图像不只是“画了一个神圣人物”。\n\n在很多传统里，图像是祈祷地址。\n\n人面对图像时，不只是看物。\n\n他也被图像要求：\n\n```text\n你站在哪里？\n你以什么姿态看？\n你是否只是观看，还是正在祈祷？\n```\n\n这时图像具有第二人称功能。\n\n它让观看变成被观看。\n\n### 2. 肖像：他被画出来，也可能看回你\n\n肖像画的基本结构是第三人称：\n\n```text\n他被画。\n她被保存。\n这个人被放进图像。\n```\n\n但一旦肖像正面凝视观众，结构会变：\n\n```text\n我看他。\n他看回我。\n```\n\n观看者不再只是外部眼睛。\n\n观看者被卷入。\n\n### 3. 《宫娥》：观看位置被画进画里\n\n委拉斯开兹的《宫娥》常被讨论，是因为它把画家、模特、镜子、观众和权力位置纠缠到一起。\n\n观众站在画前时，会遇到一个难题：\n\n```text\n我是在看画中人。\n还是站在国王/王后可能所在的位置？\n画家是在画谁？\n镜子里是谁？\n我这个观看位置是不是已经被画面预设？\n```\n\n这就是视觉艺术中的人称爆炸。\n\n不是一个“我看他”。\n\n而是：\n\n```text\n我看见一个场面正在安排我如何看。\n```\n\n### 4. 现代主义与极简主义：作品把观看者的身体暴露出来\n\n极简主义和装置艺术常常不提供一个完整故事。\n\n它们把物体放在空间里，让观看者意识到自己的身体、距离、移动和时间。\n\n这时作品不只是第三人称对象。\n\n作品对观看者说：\n\n```text\n你正在这里。\n你的身体、路线、停留时间也是作品条件。\n```\n\nMichael Fried 批评极简主义的“戏剧性”，正是因为作品太依赖观看者在场。对我们来说，这个批评反而显出关键：\n\n```text\n现代艺术把第四人称和第二人称做强了。\n观看者不是外部评判者。\n观看者变成作品发生条件。\n```\n\n### 5. 行为艺术：观众不只是看，而是承担关系\n\n行为艺术最直接地改变人称。\n\nMarina Abramović 的 `The Artist Is Present` 把艺术家和观众放成面对面的时间关系。\n\n观众不是简单看艺术家。\n\n观众坐下后变成：\n\n```text\n第二人称：被艺术家面对的人。\n第四人称：被他人共同观看的见证者。\n第三人称：被现场记录、拍照、传播的人。\n第五人称：后来影像和档案中的被接收者。\n```\n\n这非常接近《人类投降派》的第四部分：\n\n```text\n观众一旦被现场纳入，\n就不只是观众。\n```\n\n### 6. 环境装置：天气、光、镜面和空间成为零人称\n\nOlafur Eliasson 的 `The Weather Project` 这类作品，不只是让人看一个太阳或空间。\n\n它让观众意识到：\n\n```text\n我正在被光、雾、镜面、空间尺度和他人的身体一起制造观看。\n```\n\n这里最强的是零人称。\n\n不是人在作品前产生感受。\n\n是光和空间先制造一个感知场，人进入后才成为观看者。\n\n这能直接帮助我们理解《人类投降派》的开场：\n\n```text\n黑、0、红暗、肩光和方位不是背景。\n它们是人称之前的安排。\n```\n\n### 7. 档案艺术与名单艺术：第五、第六人称变成作品本体\n\n当代艺术里有很多名单、档案、物证、照片墙、纪念碑式作品。\n\n它们的核心不是让你看一个对象，而是让你面对：\n\n```text\n谁被保存。\n谁没有被保存。\n谁被列入名字。\n谁只剩物证。\n谁在未来被迫读取这些残片。\n```\n\n这时第五人称和第六人称变成作品本体。\n\n未来观看者不是附带读者。\n\n未来观看者就是作品预留的那个人。\n\n档案不是后台。\n\n档案就是作品发生方式。\n\n这正是《人类投降派》片尾和 Wiki 的问题：\n\n```text\n我们不是在电影之后整理它。\n整理本身已经成为电影后生命的一部分。\n```\n\n## 七、跨媒介总罗列：所有形式怎样调用人称\n\n下面这张表先做总账。后续可以继续扩容成词典条目。\n\n| 形式 | 零人称 | 第一人称 | 第二人称 | 第三人称 | 第四人称 | 第五人称 | 第六人称 |\n|---|---|---|---|---|---|---|---|\n| 日常对话 | 场合、关系、礼貌规则 | 我说 | 你听/回应 | 他被谈 | 旁听者 | 以后转述者 | 录音、聊天记录 |\n| 誓言 | 法/神圣场面 | 我承诺 | 你/神/法律见证 | 被承诺事项 | 证人 | 后来追责者 | 契约文本 |\n| 祈祷 | 神圣地址先在 | 我求/我悔 | 神圣的你 | 被代祷者 | 会众 | 后代信徒 | 固定祷文 |\n| 祭祀 | 祭坛、禁忌、方位 | 献祭者 | 神/祖先/亡者 | 祭品/族谱 | 部落/家族 | 后代 | 礼仪程序 |\n| 教堂礼拜 | 建筑、圣坛、座位 | 我信/我悔 | 神/会众 | 被祝祷者 | 会众回应 | 传统继承者 | 礼拜文本 |\n| 史诗 | 世界秩序 | 叙述者隐身 | 缪斯/听众 | 英雄被叙述 | 共同听众 | 后世读者 | 传唱制度 |\n| 忏悔录 | 审判/神/文本框架 | 我承认 | 神/读者 | 过去的我 | 见证读者 | 后来读者 | 出版/编年 |\n| 书信体 | 邮政/缺席条件 | 写信人 | 收信人 | 被谈论者 | 偷读者 | 保存信件的后来者 | 日期、信纸、编辑 |\n| 抒情诗 | 声场/节律 | 诗中我 | 被呼唤者 | 被歌咏对象 | 读者 | 未来诵读者 | 诗体传统 |\n| 戏剧独白 | 舞台 | 角色的我 | 秘密听者 | 被谈论者 | 观众 | 复演读者 | 剧本/舞台制度 |\n| 合唱队 | 城邦/祭仪舞台 | 我们说 | 被劝告者 | 行动人物 | 公共见证 | 后来观众 | 悲剧形式 |\n| 第四堵墙 | 舞台框架 | 角色内部我 | 被破墙叫到的你 | 台上他者 | 观众 | 复演观众 | 剧场协议 |\n| 电影 POV | 镜头条件 | 借来的眼睛 | 被看对象 | 画面人物 | 观众/摄影机 | 未来观众 | 摄影装置 |\n| 直视镜头 | 银幕界面 | 画内人物 | 屏幕前你 | 被打断的他 | 共同观看者 | 复看者 | 镜头/平台 |\n| 纪录片访谈 | 拍摄契约 | 受访者我 | 采访者/未来观众 | 被谈论者 | 摄影组/观众 | 历史读者 | 剪辑/字幕 |\n| 片尾名单 | 结束制度 | 创作者签名 | 被感谢者 | 姓名/职能 | 影院观众 | 未来查阅者 | 字幕名单 |\n| 肖像画 | 展示空间 | 画家/观看者 | 被画者看回你 | 画中人 | 美术馆观众 | 后来观众 | 框、馆藏、标签 |\n| 圣像 | 神圣空间 | 祈祷者 | 圣者/神 | 图像对象 | 礼拜共同体 | 朝圣后人 | 图像制度 |\n| 行为艺术 | 展场规则 | 艺术家/参与者 | 彼此面对的人 | 被记录身体 | 现场观众 | 影像观众 | 文献化机制 |\n| 装置艺术 | 空间、光、材料 | 观看者身体 | 作品对你说 | 物体/环境 | 同场观众 | 后来文献读者 | 展览制度 |\n| 档案艺术 | 资料库结构 | 研究者/整理者 | 被呼唤的亡者/缺席者 | 文件中的人 | 公共见证 | 未来读者 | 档案系统 |\n| 直播/弹幕 | 平台规则 | 主播/用户 | 弹幕里的你 | 被讨论对象 | 同步观众 | 切片观众 | 算法/数据库 |\n| 游戏 | 规则世界 | 玩家/角色我 | 系统叫你 | NPC/角色 | 旁观玩家 | 存档玩家 | 引擎/账号 |\n| AI/Wiki | 数据结构 | 写作者/标注者 | 被查询者/未来用户 | 条目对象 | 审稿者 | 后续读者 | 模型/索引/版本史 |\n\n这张表不是为了显得复杂。\n\n它证明一件事：\n\n```text\n只要一个表达被保存、被观看、被复述、被制度化，\n它就不再只有三个人称。\n```\n\n## 八、回到《人类投降派》：它为什么需要这套人称系统\n\n《人类投降派》的特殊性不是它“主题很多”。\n\n而是它在形式上不断改写谁是“我”、谁是“你”、谁被看、谁见证、谁迟到、谁保存。\n\n可以把全片的人称路线压成这样：\n\n```text\n零人称：黑、0、红暗、肩光、方位先在。\n第二人称：你怎么来了，把关系先叫出来。\n第一人称：我必须见你，我不是自由开口，而是被关系逼到开口。\n第一人称信号化：你在吗 / 我在，把人降到能否回执。\n第一人称出体：我在你的眼睛里看不到自己。\n第一人称崩塌：我消失了。\n第三人称过热：人被观看、被追问、被表演、被材料处理。\n代说：一个我从他人声音里出来。\n第二人称避光：谁也看不见你，把被看见推到极限。\n第四人称入场：感谢各位，观众正式成为现场位置。\n第一复数裂开：我们的演出，不是团结，而是临时归档框。\n第三人称归档：主演、角色、职能、特别鸣谢。\n第五人称启动：未来观看者、复看者、研究者迟到接收。\n第六人称接管：字幕、名单、时间码、Wiki、AI 复扫继续排列一切。\n```\n\n所以《人类投降派》不是在表达一个观点。\n\n它在做一件更大的事：\n\n```text\n它让人称自己失效。\n```\n\n你以为你是我。\n\n电影让你发现，你的我需要从别人眼里回来。\n\n你以为你是你。\n\n电影让你发现，你只是被叫到的地址，且这个地址没有主人。\n\n你以为他是他。\n\n电影让你发现，一旦他被拍下、被问、被列名，他就被制度拿去处理。\n\n你以为观众只是观众。\n\n电影让你发现，观众会被感谢、被记录、被纳入归档。\n\n你以为未来只是后来。\n\n电影让你发现，未来观看者从拍摄时就已经被预留。\n\n你以为字幕和 Wiki 是后期整理。\n\n电影让你发现，整理也是事件后生命的一部分。\n\n这就是这套人称系统对本片的真正作用：\n\n```text\n它把“人是主体”这件事拆穿。\n人不是主体。\n人是被开口、被叫到、被观看、被见证、被迟到接收、被装置保存以后，\n仍然不能逃避责任的位置。\n```\n\n## 九、写作上的直接后果\n\n如果我们要继续写《人类投降派》，不能再让文章只有一个稳定的“我”。\n\n文章必须让人称自己发生。\n\n### 1. 不要写“我认为”\n\n应该写：\n\n```text\n事情到了我这里。\n我不得不开口。\n```\n\n### 2. 不要写“你就是观众”\n\n应该写：\n\n```text\n你收到了。\n但你不是原主人。\n你必须先承认迟到。\n```\n\n### 3. 不要写“他代表什么”\n\n应该写：\n\n```text\n他被放到这个位置。\n他被这样照亮。\n他的话这样被保存。\n我不能替他结案。\n```\n\n### 4. 不要写“观众看见了”\n\n应该写：\n\n```text\n观众被电影纳入见证。\n见证不是审判权。\n```\n\n### 5. 不要写“电影留给未来”\n\n应该写：\n\n```text\n未来不是片尾才来。\n未来从镜头开始就被预留。\n```\n\n### 6. 不要写“档案整理完成”\n\n应该写：\n\n```text\n档案保存。\n档案也限制。\n档案不能把发生过的东西变成归档者的财产。\n```\n\n## 十、一句话总纲\n\n```text\n第一人称让人开口。\n第二人称让人被叫到。\n第三人称让人被处理。\n第四人称让事件变公共。\n第五人称让事件迟到地活下去。\n第六人称让事件被保存，也让保存必须承认自己无权结清。\n零人称则在这一切之前告诉我们：\n人不是第一个东西。\n```\n\n再压缩：\n\n```text\n人不是人。\n人是人称经过现场后，\n剩下的一点责任。\n```\n\n## 外部参考资料与后续调研入口\n\n本页使用以下外部材料作为 T4 形式参照，后续如要进入正式论文或字典定稿，应逐项建立本地 `sources` 页、摘录证据、区分一手文本与二手解释：\n\n- Etymonline, [person](https://www.etymonline.com/word/person)：用于追踪 `person / persona` 与面具、角色、语法人称的历史语义。\n- WALS Online, [Chapter 39: Inclusive/Exclusive Distinction in Independent Pronouns](https://wals.info/chapter/39)：用于说明“我们”可以在语言系统中区分是否包括受话者。\n- WALS Online, [Feature 100A: Alignment of Verbal Person Marking](https://wals.info/feature/100A)：用于确认语法人称标记在世界语言中的系统差异。\n- Surrey Morphology Group, [Grammatical Features: Person](https://www.grammaticalfeatures.net/features/person.html)：用于参考 person、inclusive/exclusive、obviation 等语法特征。\n- Emile Benveniste, [Subjectivity in Language](https://web.vu.lt/flf/n.kersyte/files/2023/02/Benveniste-Emile_Subjectivity-in-Language.pdf)：用于参考第一/第二人称与主体性的关系。\n- Church of England, [The Lord's Prayer](https://www.churchofengland.org/faith-life/what-we-believe/lords-prayer)：用于参考祈祷中的第一复数与神圣第二人称。\n- Christian Reformed Church, [Nicene Creed](https://www.crcna.org/welcome/beliefs/creeds/nicene-creed)：用于参考共同信仰文本中的“我们”发声制度。\n- Britannica, [chorus](https://www.britannica.com/art/chorus-theatre)：用于参考戏剧合唱队的公共见证功能。\n- Britannica, [fourth wall](https://www.britannica.com/art/fourth-wall)：用于参考第四堵墙与观众关系。\n- Britannica, [alienation effect](https://www.britannica.com/art/alienation-effect)：用于参考布莱希特式观众唤醒。\n- Britannica, [stream of consciousness](https://www.britannica.com/art/stream-of-consciousness)：用于参考意识流如何改造第一人称内部结构。\n- Britannica, [epistolary novel](https://www.britannica.com/art/epistolary-novel)：用于参考书信体与缺席收件人。\n- Thomas Elsaesser and Malte Hagener, [Film Theory: An Introduction through the Senses](https://www.routledge.com/Film-Theory-An-Introduction-through-the-Senses/Elsaesser-Hagener/p/book/9781138214788)：用于后续查证电影装置、感官、观众与主体位置。\n- MoMA, [Marina Abramović: The Artist Is Present](https://www.moma.org/calendar/exhibitions/964)：用于参考行为艺术中艺术家与观众的面对面关系。\n- Tate, [Olafur Eliasson, The Weather Project](https://www.tate.org.uk/art/artworks/eliasson-the-weather-project-t12565)：用于参考环境装置如何让光、镜面、空间和观众共同生成观看。\n- Museo del Prado, [Las Meninas](https://www.museodelprado.es/en/the-collection/art-work/las-meninas/9fdc7800-9ade-48b0-ab8b-edee94ea877f)：用于参考绘画如何预设并扰乱观看位置。\n- Artforum, Michael Fried, [Art and Objecthood](https://www.artforum.com/features/art-and-objecthood-212437/)：用于参考现代艺术中的“观看者在场”与戏剧性问题。\n\n## 下一步研究队列\n\n这页只是第一批总谱系。后续可以继续拆成五个专题：\n\n1. `人称与祈祷`：主祷文、诗篇、忏悔、共同回应、会众声场。\n2. `人称与戏剧`：合唱队、独白、旁白、破墙、观众席、后戏剧剧场。\n3. `人称与电影`：POV、direct address、voice-over、apparatus、found footage、字幕和片尾。\n4. `人称与视觉艺术`：圣像、肖像、镜子、装置、行为艺术、档案艺术。\n5. `人称与《人类投降派》时间线`：把零到六人称逐分钟落到片内声画、台词、名单和 Wiki 归档。","paragraphs":[{"id":"hs-35d1509c780dfb1d#p-791a9774eae2a648-1","anchor":"p-791a9774eae2a648-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-791a9774eae2a648-1","kind":"h2","headingPath":["人称作用史：从语法、仪式、文学、电影、艺术到第六人称装置"],"text":"人称作用史：从语法、仪式、文学、电影、艺术到第六人称装置","textSha256":"9b6881feaaef00feedadd4e7e331b3cb0e7818124337a828d110a4eaa2a66f53","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-bae9a77072be428e-1","anchor":"p-bae9a77072be428e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-bae9a77072be428e-1","kind":"h2","headingPath":["先给结论"],"text":"先给结论","textSha256":"02340297b9b7388e109eabf51696797bc107ac118565e9f137f846f65cce9466","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-ab429a576cd96843-1","anchor":"p-ab429a576cd96843-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-ab429a576cd96843-1","kind":"p","headingPath":["先给结论"],"text":"人称不是“我你他”三个词。","textSha256":"c039f105e6442cb9353a41eb2cbaafa9a1a978e32bf52a8b28344d966072f705","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-f728ccc7717e4de0-1","anchor":"p-f728ccc7717e4de0-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-f728ccc7717e4de0-1","kind":"p","headingPath":["先给结论"],"text":"人称是一套把人放进世界的机关。","textSha256":"9882b121b3ecae37a17c5172a32a09d6b72e582c2f63304bb816fce8bde00ab3","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-500b75c239d3edd9-1","anchor":"p-500b75c239d3edd9-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-500b75c239d3edd9-1","kind":"p","headingPath":["先给结论"],"text":"它的作用不是装饰句子，而是分配六件事：","textSha256":"95f8e5d940383efa81d2e505a54f4b50f395df7c7697caafaab9a8053b1891e3","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-1637fcb99a4e75ef-1","anchor":"p-1637fcb99a4e75ef-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-1637fcb99a4e75ef-1","kind":"pre","headingPath":["先给结论"],"text":"谁能说。\n谁被叫。\n谁被说成对象。\n谁替现场作证。\n谁在未来接收。\n谁把这一切保存、转写、排序、限制。","textSha256":"ba086970220193c1ae860a9fcb0becc7e9378e49133d3683513ebf5b9683d17c","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-50bedff7d2f90d6e-1","anchor":"p-50bedff7d2f90d6e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-50bedff7d2f90d6e-1","kind":"p","headingPath":["先给结论"],"text":"普通语法里，第一、第二、第三人称已经足够描述说话关系：","textSha256":"8013417c9220f755e0f89cae17ddda79c259c16585ecf8a40279a44872cfd6e5","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-f2310b7837403ce9-1","anchor":"p-f2310b7837403ce9-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-f2310b7837403ce9-1","kind":"pre","headingPath":["先给结论"],"text":"我说。\n你听。\n他被谈论。","textSha256":"00799fd8099728fb728acd96a77eac4c847a3d7d4fff902e61d2d8b9083376e9","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-e9ca519e1c6b67a5-1","anchor":"p-e9ca519e1c6b67a5-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-e9ca519e1c6b67a5-1","kind":"p","headingPath":["先给结论"],"text":"但一进入祭祀、祈祷、戏剧、电影和艺术，问题就扩大了。","textSha256":"e5733a366ef00f387164d124ef8873be4e8d9f83245163359320a739e9e35b26","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-98e33bf33f6dbbbf-1","anchor":"p-98e33bf33f6dbbbf-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-98e33bf33f6dbbbf-1","kind":"p","headingPath":["先给结论"],"text":"因为那里总有不说话却决定说话的人：","textSha256":"95ea4df64d4205cc2c154a9c463bff87271152a9fc24954826ff2ff96b490564","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-c85847e513821d43-1","anchor":"p-c85847e513821d43-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-c85847e513821d43-1","kind":"pre","headingPath":["先给结论"],"text":"祭坛。\n经文。\n合唱队。\n观众。\n摄影机。\n字幕。\n名单。\n未来读者。\n档案。\n算法。\nWiki。","textSha256":"cd21e6fa3bba269cff91169db93d476e9281402e23680f549e0b7413624a4341","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-57985615a5069a7a-1","anchor":"p-57985615a5069a7a-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-57985615a5069a7a-1","kind":"p","headingPath":["先给结论"],"text":"它们不是普通意义上的“人”。","textSha256":"7f9fafb3cc48ce4167bf4ce1d1e9beb7dece4a93d01c7a2147403e655add1ec7","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-739f70591cc69d6b-1","anchor":"p-739f70591cc69d6b-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-739f70591cc69d6b-1","kind":"p","headingPath":["先给结论"],"text":"但它们在决定人称。","textSha256":"2fd2ec433730455d9033e76b41577cb2b9ac2cb3d9caf025e32b06dca68c0979","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-2d869fa4cf916fe9-1","anchor":"p-2d869fa4cf916fe9-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-2d869fa4cf916fe9-1","kind":"p","headingPath":["先给结论"],"text":"所以本页的核心判断是：","textSha256":"35137f1c3414be0afb7a99942f27ef72378538f4b108e20735244f05ec30b96e","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-adf86ecf1c01640d-1","anchor":"p-adf86ecf1c01640d-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-adf86ecf1c01640d-1","kind":"pre","headingPath":["先给结论"],"text":"人称不是人。\n人称是人被关系、场面、媒介、见证和未来处理之后，\n留下来的发声位置。","textSha256":"96f662a29690ecc3101ffcfdcf256379992517bef92b13259ea1307c87f606b1","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-6836c860a605d9dd-1","anchor":"p-6836c860a605d9dd-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-6836c860a605d9dd-1","kind":"p","headingPath":["先给结论"],"text":"更硬一点说：","textSha256":"3eaff3c327e3da54e0fff74c704805930c1907fdc7d906bde600be06e164b431","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-e16d96f4a560778e-1","anchor":"p-e16d96f4a560778e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-e16d96f4a560778e-1","kind":"pre","headingPath":["先给结论"],"text":"人不是第一人称。\n人是各种人称经过以后，\n还必须负责的一张嘴。","textSha256":"78e740fbe8dd72320a4563578dbed48eb2b851c2acc43ae743ebc65e820e4eb6","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-a7611f821e9e72f3-1","anchor":"p-a7611f821e9e72f3-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-a7611f821e9e72f3-1","kind":"h2","headingPath":["方法边界"],"text":"方法边界","textSha256":"c7d4ddf62ad2edcf206fd09ae17e67077a013c80b7c4d07b0862fcadf2e8cdf7","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-28c29e1aca00dde2-1","anchor":"p-28c29e1aca00dde2-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-28c29e1aca00dde2-1","kind":"p","headingPath":["方法边界"],"text":"需要先把边界说清楚。","textSha256":"f02fe3d37892dcf75d264b6d2ddc965e2c6e1ad94e2bbcf13e53f511cc8a8297","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-68fea64b4879677c-1","anchor":"p-68fea64b4879677c-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-68fea64b4879677c-1","kind":"p","headingPath":["方法边界"],"text":"第一、第二、第三人称是常规语法范畴。","textSha256":"92fc33e10c1908428318a125986f25b4ad271510dd8c00e9ed75032ceadf39dc","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-672232d801ad7ffe-1","anchor":"p-672232d801ad7ffe-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-672232d801ad7ffe-1","kind":"p","headingPath":["方法边界"],"text":"第四人称在语言学里没有一个统一通用含义。某些语言或理论中会把它用于 obviative、另一种第三人称、间接视点、转述主体等不同问题。也就是说，“第四人称”不是一个可以随便拿来普遍套用的标准。","textSha256":"507c7c8771263bca6cf3d06e4f8cdc3970fbbc9cef639481aa4e18f999376198","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-6357b39e8fcb4f54-1","anchor":"p-6357b39e8fcb4f54-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-6357b39e8fcb4f54-1","kind":"p","headingPath":["方法边界"],"text":"第五、第六人称更不是常规语法标准。","textSha256":"e3e64babfa205d481e3ed21ceba898a212ef22a70fe8637ed81e4d264cf399a5","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-4907b465eb35da23-1","anchor":"p-4907b465eb35da23-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-4907b465eb35da23-1","kind":"p","headingPath":["方法边界"],"text":"所以这里不说：","textSha256":"25509e504ff12f20ac5290756db16ba97677c7b7b87b6fa92de208a8f6e6d734","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-5d3cfc42e013a868-1","anchor":"p-5d3cfc42e013a868-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-5d3cfc42e013a868-1","kind":"pre","headingPath":["方法边界"],"text":"世界上真的有固定六个人称。","textSha256":"5419030f1e37a060d3f31917dc13fabe9dee03760598e995a7c2fc369ffbfb12","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-553610eab4741459-1","anchor":"p-553610eab4741459-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-553610eab4741459-1","kind":"p","headingPath":["方法边界"],"text":"这里只说：","textSha256":"4caecbff872bc96832109308f771682a71fc3dfb9a958b21034bdab82ec47dfd","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-3854e7f7fe287ecd-1","anchor":"p-3854e7f7fe287ecd-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-3854e7f7fe287ecd-1","kind":"pre","headingPath":["方法边界"],"text":"在仪式、文学、戏剧、电影和艺术里，\n确实存在六类功能位置。\n普通三人称说不完这些位置。","textSha256":"3d73ca3aa5c6006c0ac39fde1b5ee72c480c57bb9fcbb1f645374c2701f92327","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-e8cadb5bacbda462-1","anchor":"p-e8cadb5bacbda462-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-e8cadb5bacbda462-1","kind":"p","headingPath":["方法边界"],"text":"本书因此把它们临时命名为：","textSha256":"8d6cae539e6d4e4e53020421f186f058bfe306a9803fd8152e6dc6c3411af6e9","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-a25c0cf622c7340f-1","anchor":"p-a25c0cf622c7340f-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-a25c0cf622c7340f-1","kind":"tr","headingPath":["方法边界"],"text":"功能位 不是语法标准时的含义 最短作用","textSha256":"a4d6ad8fd581fc16469eb999982605f89931da27f40f28b0ad2a1a1d2211a540","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-9d289c3f270660f3-1","anchor":"p-9d289c3f270660f3-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-9d289c3f270660f3-1","kind":"tr","headingPath":["方法边界"],"text":"零人称 场面、法、祭坛、舞台、银幕、镜头条件先在 让人还没开口就已经被安排","textSha256":"8b8a22df68dc775200d8d0c1f379c1654b3a28bc7b120d68f9a8e30875b6e158","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-70a28b2cb9317e9a-1","anchor":"p-70a28b2cb9317e9a-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-70a28b2cb9317e9a-1","kind":"tr","headingPath":["方法边界"],"text":"第一人称 发声者、承认者、承担句子的人 让一句话有嘴","textSha256":"f70aadb279556fddad93a8df2d3710ad8a874bc8fb8d10af09847441e0757a6a","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-768bdce4a9dd9539-1","anchor":"p-768bdce4a9dd9539-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-768bdce4a9dd9539-1","kind":"tr","headingPath":["方法边界"],"text":"第二人称 被叫到者、被召唤者、被要求回应者 把人从旁观里叫出来","textSha256":"61e23ff2ee45570752b6101241ba5d59ccaa2afae56fafaefcbcbac98a313461","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-953df8aa2a3bc5e9-1","anchor":"p-953df8aa2a3bc5e9-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-953df8aa2a3bc5e9-1","kind":"tr","headingPath":["方法边界"],"text":"第三人称 被叙述、被观看、被归类、被处理者 把人变成可谈论对象","textSha256":"cf205b3cd4ab5c096eaf433c1986bb0988be0b19158a928e6824fbb2053f14fa","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-44164a65b50dcb05-1","anchor":"p-44164a65b50dcb05-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-44164a65b50dcb05-1","kind":"tr","headingPath":["方法边界"],"text":"第四人称 见证者、会众、合唱队、观众、镜头 让私人话变公共事件","textSha256":"10a0d95d4cd93fbab43f8ede260be4112c25125f3b56030b40d7928b3ed6168e","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-828215be954d864b-1","anchor":"p-828215be954d864b-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-828215be954d864b-1","kind":"tr","headingPath":["方法边界"],"text":"第五人称 后代、未来观众、复看者、后来读者 让事件获得后生命","textSha256":"766f57229d8ef0a1e65db83e3eb0e65b57d19a89165a1eb85535625a2bdf6022","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-c940665a4f825100-1","anchor":"p-c940665a4f825100-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-c940665a4f825100-1","kind":"tr","headingPath":["方法边界"],"text":"第六人称 装置、制度、文本、字幕、档案、数据库 保存并限制所有人称","textSha256":"e0911aba0349d599a32104112aeee304fccde6c57bf524cc182d6aca9be253c7","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-813f23ca010f5c34-1","anchor":"p-813f23ca010f5c34-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-813f23ca010f5c34-1","kind":"h2","headingPath":["总图：人称不是线性，而是回路"],"text":"总图：人称不是线性，而是回路","textSha256":"dfc8ad16f94903bacf22ede1e78c48a228105bf7df689ba2c060f832ddd21c25","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-be5faf3b9505577b-1","anchor":"p-be5faf3b9505577b-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-be5faf3b9505577b-1","kind":"pre","headingPath":["总图：人称不是线性，而是回路"],"text":"flowchart TB\n    Z[\"零人称：场面先在<br/>祭坛 / 舞台 / 银幕 / 光 / 法 / 规则\"]\n    A[\"第一人称：我开口<br/>承认 / 发愿 / 供述 / 叙述 / 见证\"]\n    B[\"第二人称：你被叫到<br/>祈祷 / 召唤 / 对话 / 问责 / 直视\"]\n    C[\"第三人称：他被处理<br/>叙述 / 观看 / 归类 / 名单 / 标本\"]\n    D[\"第四人称：见证者在场<br/>会众 / 合唱队 / 观众 / 摄影机 / 法庭\"]\n    E[\"第五人称：未来接收<br/>后代 / 复看者 / 读者 / 研究者 / 迟到者\"]\n    F[\"第六人称：装置保存<br/>经文 / 礼仪 / 剧本 / 镜头 / 字幕 / 档案 / Wiki\"]\n\n    Z --> A\n    Z --> B\n    Z --> C\n    A --> B\n    B --> A\n    A --> D\n    B --> D\n    C --> D\n    D --> E\n    E --> F\n    F --> A\n    F --> B\n    F --> C\n    F --> D","textSha256":"21390a64201c248a8bb6181aae2642a362e2ffd358ffe406297547d26b06a4c9","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-10ab714c17914af3-1","anchor":"p-10ab714c17914af3-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-10ab714c17914af3-1","kind":"p","headingPath":["总图：人称不是线性，而是回路"],"text":"这张图的意思是：","textSha256":"58fb55a96092f6d1cd5d91c8ce253770f033f4fe83134816313ef60e5504e748","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-679487ac887021f6-1","anchor":"p-679487ac887021f6-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-679487ac887021f6-1","kind":"pre","headingPath":["总图：人称不是线性，而是回路"],"text":"没有纯粹的“我”。\n所有“我”都先经过场面、他人、见证、未来和装置。","textSha256":"e9b0880b6d42472bfbbe5632e28d5e4bd9b926ff73eafedccf482bc5eb50f005","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-6b9a08dd6efacc06-1","anchor":"p-6b9a08dd6efacc06-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-6b9a08dd6efacc06-1","kind":"p","headingPath":["总图：人称不是线性，而是回路"],"text":"人以为自己在说。","textSha256":"cd06e7cfbdd3b7087ca3fcdc02971862dbfb024e522a9938059118a07f16143a","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-f246057f071ba8a4-1","anchor":"p-f246057f071ba8a4-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-f246057f071ba8a4-1","kind":"p","headingPath":["总图：人称不是线性，而是回路"],"text":"其实每一次说话，都在被这些位置分配。","textSha256":"d8ba6e9ba603bca06e8d8071fadd10b2bdec472921242ca91be9c0da6a0c4771","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-7d22b52920a593fd-1","anchor":"p-7d22b52920a593fd-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-7d22b52920a593fd-1","kind":"h2","headingPath":["一、人称的历史底层：面具、语法、主体和地址"],"text":"一、人称的历史底层：面具、语法、主体和地址","textSha256":"5a55709b522b4f9b244e8d78b29b490c7765a57f891a1df68b9c493ef85cafbd","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-34411f8ac022ecd2-1","anchor":"p-34411f8ac022ecd2-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-34411f8ac022ecd2-1","kind":"h3","headingPath":["一、人称的历史底层：面具、语法、主体和地址","1. person 原来就不是纯粹内心"],"text":"1. person 原来就不是纯粹内心","textSha256":"326f52f57e73b0612ff40a6df861484f034b683427cca4b9a8141f605fb05887","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-c0d3888d780881ff-1","anchor":"p-c0d3888d780881ff-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-c0d3888d780881ff-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","1. person 原来就不是纯粹内心"],"text":"英语 person 的词源可以追到拉丁 persona ，常与面具、角色、身份位置相关。这个词的历史很重要：人称从一开始就不只是“内在自我”，而带着“被呈现出来的角色”和“可被听见的口”的意味。","textSha256":"bd58d4af4617cb8e237f5d848edf4589f6c3bacfdc8403575055f60aeb6d669d","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-e4bdae2d77390964-1","anchor":"p-e4bdae2d77390964-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-e4bdae2d77390964-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","1. person 原来就不是纯粹内心"],"text":"这对《人类投降派》很关键。","textSha256":"7794806a47a725020e13a3fcc48985a7ca0f88537373c36cb333f7226810d330","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-71adb7d4d836a4b8-1","anchor":"p-71adb7d4d836a4b8-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-71adb7d4d836a4b8-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","1. person 原来就不是纯粹内心"],"text":"因为我们不能把“人”想成一个封闭内核，然后外面套角色。","textSha256":"3f33f2464c747c291b582c7238d36b310d8622ff3e1f95a49462d028d37d5c5c","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-3739c8ec51911946-1","anchor":"p-3739c8ec51911946-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-3739c8ec51911946-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","1. person 原来就不是纯粹内心"],"text":"更准确地说：","textSha256":"ab7e152c46cd94cd0a7f5a710249e6531c7b132396f208ac7b80c5c9a080a136","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-4c9d95893f2145e7-1","anchor":"p-4c9d95893f2145e7-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-4c9d95893f2145e7-1","kind":"pre","headingPath":["一、人称的历史底层：面具、语法、主体和地址","1. person 原来就不是纯粹内心"],"text":"人从来就在面具、声音、角色和可见位置里出现。","textSha256":"ea7d8d6a99d532137b9219af7b977020f401d25a769caa11d25968dff2c29d5c","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-fc6f0e75654cae59-1","anchor":"p-fc6f0e75654cae59-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-fc6f0e75654cae59-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","1. person 原来就不是纯粹内心"],"text":"所以“我”不是内心的原点。","textSha256":"6d5ca0873e1dc8f4875d73f72da0f886bcb44e54061c84e0efeaa9812738a808","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-3ea0ea7a369ea7a4-1","anchor":"p-3ea0ea7a369ea7a4-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-3ea0ea7a369ea7a4-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","1. person 原来就不是纯粹内心"],"text":"“我”是一个人被推到可说位置后出现的声音。","textSha256":"0101c79c1d072f7362d4620e8cede0effeea2adb79e1b4d6c0f106a4f2d2b64d","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-933ca23212aebf55-1","anchor":"p-933ca23212aebf55-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-933ca23212aebf55-1","kind":"h3","headingPath":["一、人称的历史底层：面具、语法、主体和地址","2. 一二三人称的基本语法作用"],"text":"2. 一二三人称的基本语法作用","textSha256":"88d7f3c096f8619f5890192fff1b60e976f75ac520ec2bcf06b5e93a76e0f184","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-f113144a45dc1bfe-1","anchor":"p-f113144a45dc1bfe-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-f113144a45dc1bfe-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","2. 一二三人称的基本语法作用"],"text":"常规语法中的三人称可以先简化为：","textSha256":"8d00b67b3faddd8e2cb0ab371341f755aaad60bbd2edd55b6a940e929d79960d","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-f80bb373b4598c12-1","anchor":"p-f80bb373b4598c12-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-f80bb373b4598c12-1","kind":"tr","headingPath":["一、人称的历史底层：面具、语法、主体和地址","2. 一二三人称的基本语法作用"],"text":"人称 基本语法功能 深层作用 危险","textSha256":"c428ae673a7f6398dec37b95d082e6233f15390bd27ff56d8c47d017e5fb59f9","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-e11b6429c1191a4a-1","anchor":"p-e11b6429c1191a4a-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-e11b6429c1191a4a-1","kind":"tr","headingPath":["一、人称的历史底层：面具、语法、主体和地址","2. 一二三人称的基本语法作用"],"text":"第一人称 说话者 让一句话获得承担者 把承担误认为所有权","textSha256":"59dd35b1950e1b25f082921cdf809d47ffb6bf1ea0c9e728b7a7599bab47ef5e","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-d84ec96f0cba272c-1","anchor":"p-d84ec96f0cba272c-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-d84ec96f0cba272c-1","kind":"tr","headingPath":["一、人称的历史底层：面具、语法、主体和地址","2. 一二三人称的基本语法作用"],"text":"第二人称 受话者 让一句话变成召唤 把召唤误认为占有","textSha256":"a7620723da3601a3e87d15585c306ce6faa9f88dab38aeaaac1f8ed8d59609c8","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-59b3bfb8fd59c651-1","anchor":"p-59b3bfb8fd59c651-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-59b3bfb8fd59c651-1","kind":"tr","headingPath":["一、人称的历史底层：面具、语法、主体和地址","2. 一二三人称的基本语法作用"],"text":"第三人称 被谈论者 让一个人进入叙述、知识和处理 把叙述误认为客观","textSha256":"352fe9b0d42237d64cba9e928aea8a55d23f38f0da923c471dacebf1b186d353","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-606a49c7ac5fac13-1","anchor":"p-606a49c7ac5fac13-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-606a49c7ac5fac13-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","2. 一二三人称的基本语法作用"],"text":"语言学和叙述理论里常说， I 和 you 是互相定义的：我之所以是“我”，是因为我正在对一个“你”说话；一旦你开口，你也变成“我”。第三人称则不在这组直接交换里，它更像被谈论的位置。","textSha256":"1549d904774f6072b0b375873e346c9ab280e042c1e8d749c96dabad0415be09","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-6e07d3918453dd32-1","anchor":"p-6e07d3918453dd32-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-6e07d3918453dd32-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","2. 一二三人称的基本语法作用"],"text":"这说明一个残酷事实：","textSha256":"2944c744079164e104d966e0c6f461f48872d8e7dae9b09b180d759315df78d5","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-70d21a0a991c84e0-1","anchor":"p-70d21a0a991c84e0-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-70d21a0a991c84e0-1","kind":"pre","headingPath":["一、人称的历史底层：面具、语法、主体和地址","2. 一二三人称的基本语法作用"],"text":"第一人称不是天然拥有自己。\n第一人称要靠第二人称才能成立。","textSha256":"04f6aed14dc312f44a480f3e19f2d00c36a577c836c94175769d120c813a43be","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-899b6867d5adf2b7-1","anchor":"p-899b6867d5adf2b7-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-899b6867d5adf2b7-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","2. 一二三人称的基本语法作用"],"text":"一个没有“你”的“我”，只是一个还没有被叫出来的潜在口。","textSha256":"bb07945242314ec16fa945d3b52e49cee42e4d1a9e8b1c22894fcc12b7c49fe1","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-0fee757a57fce81a-1","anchor":"p-0fee757a57fce81a-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-0fee757a57fce81a-1","kind":"h3","headingPath":["一、人称的历史底层：面具、语法、主体和地址","3. “我们”比“我”更复杂"],"text":"3. “我们”比“我”更复杂","textSha256":"af44a19cfd1aac8e7175c480cc30a5438a13ce08a7ffecbb60aa0be42f3ea7a1","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-091c944d7db60a8c-1","anchor":"p-091c944d7db60a8c-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-091c944d7db60a8c-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","3. “我们”比“我”更复杂"],"text":"很多语言会区分 inclusive / exclusive，也就是：","textSha256":"5900bf9df8aa08814abc145247b036919b9433591f8a5fad8a39405d1ce1f839","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-2f9f2939495c0bde-1","anchor":"p-2f9f2939495c0bde-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-2f9f2939495c0bde-1","kind":"pre","headingPath":["一、人称的历史底层：面具、语法、主体和地址","3. “我们”比“我”更复杂"],"text":"包括你的我们。\n不包括你的我们。","textSha256":"9d1967b69ca087cf29f98639feec4ef87251d2f824356bd8b75b5edba7e0abb4","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-c8a359cc9affe56e-1","anchor":"p-c8a359cc9affe56e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-c8a359cc9affe56e-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","3. “我们”比“我”更复杂"],"text":"这说明“我们”不是温暖的集合词。","textSha256":"0010cdb0142b808d32fdb9bb842f2ff73034adcc507d6d08ee8250da0b4303c5","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-2c3b877a79be6d62-1","anchor":"p-2c3b877a79be6d62-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-2c3b877a79be6d62-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","3. “我们”比“我”更复杂"],"text":"“我们”本身就在分配边界。","textSha256":"a56c239a7bab63b65aee0585dfde623bb6c7d2289f43a3976e19739369aa908a","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-2819cb90165f5211-1","anchor":"p-2819cb90165f5211-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-2819cb90165f5211-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","3. “我们”比“我”更复杂"],"text":"它可以说：","textSha256":"16ef363fc5314b8297720670855d834604434b313317bb0f47cc05e89494d1ee","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-c7c45cbcd86086e5-1","anchor":"p-c7c45cbcd86086e5-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-c7c45cbcd86086e5-1","kind":"pre","headingPath":["一、人称的历史底层：面具、语法、主体和地址","3. “我们”比“我”更复杂"],"text":"你在我们里面。","textSha256":"115c464800a4485cf67803d88a9c0ac2dbf793af01083bcfc26a3507d24505b5","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-2d17263ac4ea13c9-1","anchor":"p-2d17263ac4ea13c9-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-2d17263ac4ea13c9-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","3. “我们”比“我”更复杂"],"text":"也可以说：","textSha256":"85c77f4cde3eaf47898d94d9f9ed147182cff931729e43a8a331e0fdd35e778c","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-1feecbc397025942-1","anchor":"p-1feecbc397025942-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-1feecbc397025942-1","kind":"pre","headingPath":["一、人称的历史底层：面具、语法、主体和地址","3. “我们”比“我”更复杂"],"text":"我们在说话，但你不在里面。","textSha256":"5f336bbf3d86511628884df5b52be01b1dd8360a1e2482bbeab1cec1b495245c","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-1dec6311ebabc4c1-1","anchor":"p-1dec6311ebabc4c1-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-1dec6311ebabc4c1-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","3. “我们”比“我”更复杂"],"text":"所以《人类投降派》里说“我们的演出”时，不能马上把它写成团结。","textSha256":"41821d0c59945bfb0b81a94ff14ed26221e7a8562438e46800ad53ac52fb32d6","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-046ca5035372327e-1","anchor":"p-046ca5035372327e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-046ca5035372327e-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","3. “我们”比“我”更复杂"],"text":"它应该被拆开：","textSha256":"5a5383257992c7df73f0291bc60fb00c525b31498b2dd0795beb7e5326184cc7","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-286678e2e7f8e2fc-1","anchor":"p-286678e2e7f8e2fc-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-286678e2e7f8e2fc-1","kind":"pre","headingPath":["一、人称的历史底层：面具、语法、主体和地址","3. “我们”比“我”更复杂"],"text":"谁在我们里面？\n谁被感谢为各位？\n谁被列入主演？\n谁只在特别鸣谢里低头？\n谁作为未来观众迟到地收到这个我们？","textSha256":"dac6a9811153d7572c957673e55c0d841d368209340982d0c475006b1feb165c","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-a27ab04b80ae1cfe-1","anchor":"p-a27ab04b80ae1cfe-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-a27ab04b80ae1cfe-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","3. “我们”比“我”更复杂"],"text":"“我们”不是答案。","textSha256":"4f67333a8fb7ecc99b9c6d907acc19555fff4f90ca1fd7d63a83aac05e7d0d33","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-0a9cd77e2abea5e5-1","anchor":"p-0a9cd77e2abea5e5-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-0a9cd77e2abea5e5-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","3. “我们”比“我”更复杂"],"text":"“我们”是一道分界线。","textSha256":"d20503d29abd6bced23bf6d2c733cb0776eae6b3b2f1def2b1f7785dc81ab24c","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-41737ef0ca14af4f-1","anchor":"p-41737ef0ca14af4f-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-41737ef0ca14af4f-1","kind":"h3","headingPath":["一、人称的历史底层：面具、语法、主体和地址","4. 第四人称在语言学中的警示"],"text":"4. 第四人称在语言学中的警示","textSha256":"9c627c0ec4e093b5e2e450e4a83dfc1dd063e06a533327b3ef282f6b9ac8eb01","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-bd74b1c24cabd4d9-1","anchor":"p-bd74b1c24cabd4d9-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-bd74b1c24cabd4d9-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","4. 第四人称在语言学中的警示"],"text":"某些语言学语境会把“第四人称”用于 obviative：当叙述中有多个第三人称时，有的语言会标出哪个第三人称是中心、哪个第三人称退到更远处。换句话说，“他”和“另一个他”并不等价。","textSha256":"1423aef7ab794b7f81235c7e220c42324f59f2cc64f47a2963c577f58aaa6930","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-3ddf3222ccc0788b-1","anchor":"p-3ddf3222ccc0788b-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-3ddf3222ccc0788b-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","4. 第四人称在语言学中的警示"],"text":"这对本书非常有启发。","textSha256":"2e89f1da70e84d80572d02530485d42ac4bf78b394ec56989c82f09301ff97a3","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-ce694506bf084b05-1","anchor":"p-ce694506bf084b05-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-ce694506bf084b05-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","4. 第四人称在语言学中的警示"],"text":"它说明所谓“第三人称对象”内部也有层级：","textSha256":"609faa65b66b3139b740388b69cca8c95662995c6f45c7bc3d67da21ff8d80b7","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-5af0f268981df880-1","anchor":"p-5af0f268981df880-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-5af0f268981df880-1","kind":"pre","headingPath":["一、人称的历史底层：面具、语法、主体和地址","4. 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第四人称在语言学中的警示"],"text":"它只提醒我们：","textSha256":"67ae8912801ade0627c195e42b3a820a5639f5e932a86f0b7f19cea9c2dd4b86","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-6e437ea558c60cde-1","anchor":"p-6e437ea558c60cde-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-6e437ea558c60cde-1","kind":"pre","headingPath":["一、人称的历史底层：面具、语法、主体和地址","4. 第四人称在语言学中的警示"],"text":"普通三人称不够细。\n被说成“他”的人，也可能还在被继续分层。","textSha256":"494c330165f1e005ec9cec3506bfaac86f8daa0282a6fcd29b229c86a2a1754f","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-dbb209837b396ba3-1","anchor":"p-dbb209837b396ba3-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-dbb209837b396ba3-1","kind":"p","headingPath":["一、人称的历史底层：面具、语法、主体和地址","4. 第四人称在语言学中的警示"],"text":"因此本书用“第四人称”指见证者，不是语言学裁决，而是艺术形式分析里的功能命名。","textSha256":"88f8d119fa0db6d4bdc614bfd3d77a73c84c973527c7857007dbf994778ddb40","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-6aaefe03849e0280-1","anchor":"p-6aaefe03849e0280-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-6aaefe03849e0280-1","kind":"h2","headingPath":["二、历史与仪式：人称如何让人进入大于人的秩序"],"text":"二、历史与仪式：人称如何让人进入大于人的秩序","textSha256":"5d4f499af34c6febf229594a19e6850c72831de7e4911f65bf119e8d3f2ff454","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-fab8005e73eacc07-1","anchor":"p-fab8005e73eacc07-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-fab8005e73eacc07-1","kind":"h3","headingPath":["二、历史与仪式：人称如何让人进入大于人的秩序","1. 祭祀：人称被祭坛先排好"],"text":"1. 祭祀：人称被祭坛先排好","textSha256":"a1534832900eb3efdcec9d9fea3490ddaf18126381ff5e0db66220ed53be638c","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-9ea4b20d93405a84-1","anchor":"p-9ea4b20d93405a84-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-9ea4b20d93405a84-1","kind":"p","headingPath":["二、历史与仪式：人称如何让人进入大于人的秩序","1. 祭祀：人称被祭坛先排好"],"text":"祭祀里，人通常以为自己在献祭。","textSha256":"8fcdfd6fe7e2d50381223cbeb95d53000ff543333f5a44e21e56b15f8160a928","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-5e8549265006b47e-1","anchor":"p-5e8549265006b47e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-5e8549265006b47e-1","kind":"p","headingPath":["二、历史与仪式：人称如何让人进入大于人的秩序","1. 祭祀：人称被祭坛先排好"],"text":"但真正先出现的不是“我”，而是祭坛。","textSha256":"0ef39008729ed4bbbfe593083c6ede9d77a87fb80b4d3c411ffacb77a74855c6","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-7cacaf64702dd4de-1","anchor":"p-7cacaf64702dd4de-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-7cacaf64702dd4de-1","kind":"p","headingPath":["二、历史与仪式：人称如何让人进入大于人的秩序","1. 祭祀：人称被祭坛先排好"],"text":"祭坛先规定：","textSha256":"ae907079c71f2369f118e23a3b9d867867cfd85cf78782671e6da9ca315ff79e","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-b5315d3ead77e122-1","anchor":"p-b5315d3ead77e122-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-b5315d3ead77e122-1","kind":"pre","headingPath":["二、历史与仪式：人称如何让人进入大于人的秩序","1. 祭祀：人称被祭坛先排好"],"text":"谁可以站在这里。\n谁可以献上。\n谁被献给。\n谁在旁边看。\n谁会在未来继承这次献祭。\n哪些话必须照规矩说。","textSha256":"6305a2470ed37d4cdf36f34b6b53f30bd171d3a6ba9c9138dd91f8f8d12b1867","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-b6c511935e4af75a-1","anchor":"p-b6c511935e4af75a-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-b6c511935e4af75a-1","kind":"p","headingPath":["二、历史与仪式：人称如何让人进入大于人的秩序","1. 祭祀：人称被祭坛先排好"],"text":"所以祭祀的人称结构是：","textSha256":"1055d7865ed1cfe33fbd1560b585caa6a9498ace6e192b7620b4b9898e0fc681","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-885bbe25c481978f-1","anchor":"p-885bbe25c481978f-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-885bbe25c481978f-1","kind":"tr","headingPath":["二、历史与仪式：人称如何让人进入大于人的秩序","1. 祭祀：人称被祭坛先排好"],"text":"位置 祭祀中的形态 作用","textSha256":"545330a0567816515d65a028d111bb95c9be7188708a7a2849a854e1c2ebae2d","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-df2688951f26466f-1","anchor":"p-df2688951f26466f-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-df2688951f26466f-1","kind":"tr","headingPath":["二、历史与仪式：人称如何让人进入大于人的秩序","1. 祭祀：人称被祭坛先排好"],"text":"零人称 祭坛、方位、日历、禁忌、器物 人还没开口，位置已经安排好","textSha256":"e1234df4c302d6a5a22d21c45090dacf5d6bfa2d4e14893c37afecdad6006b5e","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-813ff3ac5b2686bd-1","anchor":"p-813ff3ac5b2686bd-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-813ff3ac5b2686bd-1","kind":"tr","headingPath":["二、历史与仪式：人称如何让人进入大于人的秩序","1. 祭祀：人称被祭坛先排好"],"text":"第一人称 祭司、献祭者、忏悔者 用一张嘴承担献祭动作","textSha256":"48b77eb0578d22d890773cb33c0292318cf2e8a2d5877e0f401cce6f67781ad2","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-4cf4052a2b22c572-1","anchor":"p-4cf4052a2b22c572-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-4cf4052a2b22c572-1","kind":"tr","headingPath":["二、历史与仪式：人称如何让人进入大于人的秩序","1. 祭祀：人称被祭坛先排好"],"text":"第二人称 神、祖先、死者、被呼唤的不在场者 让不在场者进入现场","textSha256":"040f36cdb878004acc59bd34e82578d19beb2be6f6aefa63e67ff584a652784a","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-580493cee7a3143b-1","anchor":"p-580493cee7a3143b-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-580493cee7a3143b-1","kind":"tr","headingPath":["二、历史与仪式：人称如何让人进入大于人的秩序","1. 祭祀：人称被祭坛先排好"],"text":"第三人称 祭品、亡者故事、族谱中的人 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教堂：空间也是人称机器"],"text":"这可以直接回到《人类投降派》的写作主体：","textSha256":"ff8c20b336d0934ce0645d9775914b958452ddb4c3333983b6a1934fef6f4ad8","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-b158783fa81bc8a6-1","anchor":"p-b158783fa81bc8a6-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-b158783fa81bc8a6-1","kind":"pre","headingPath":["二、历史与仪式：人称如何让人进入大于人的秩序","3. 教堂：空间也是人称机器"],"text":"文章里的“我”不是私生活里的我。\n它是被现场、电影、档案、他人和未来读者逼出来的临时嘴。","textSha256":"3094e99d6a8b056471c0486502da6ef46e2362df37628f44720364911e6fdaa5","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-4abf28243e192bbe-1","anchor":"p-4abf28243e192bbe-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-4abf28243e192bbe-1","kind":"h2","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址"],"text":"三、文学：人称如何制造主体、读者和幽灵地址","textSha256":"25824421a8c4e9cdfdfff2599aba79b61c0ebecf5fac90accfb579b530ed26cc","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-3f4b53b8dabbcf0a-1","anchor":"p-3f4b53b8dabbcf0a-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-3f4b53b8dabbcf0a-1","kind":"p","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址"],"text":"文学不是用人称来分类。","textSha256":"84508f2c67369a98e5b91bc4c10403dfc8dcb550382aea3b9f39343d9db08519","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-20aa5ab45b4d5fb9-1","anchor":"p-20aa5ab45b4d5fb9-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-20aa5ab45b4d5fb9-1","kind":"p","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址"],"text":"文学用人称来改变读者站在哪里。","textSha256":"77fddd510a9d33151cd9bb968f6a23356cee7fcf2466e76cc52324cc3b7a5f27","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-30ab088ab5e81940-1","anchor":"p-30ab088ab5e81940-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-30ab088ab5e81940-1","kind":"p","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址"],"text":"下面按形式列。","textSha256":"9c169335923c022668037f31ed7c06a96d097e295ca449aedd0a54ddcadfd446","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-08412887ebbc6b1e-1","anchor":"p-08412887ebbc6b1e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-08412887ebbc6b1e-1","kind":"h3","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","1. 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史诗与外部叙述：第三人称制造世界"],"text":"《人类投降派》必须警惕这种危险。写人物时不能说“他本质上如何”，要先说：","textSha256":"5611870cafb309de50306c6755c370524c7ff33ef73808158d081d453073c96f","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-b073ac7832d192b9-1","anchor":"p-b073ac7832d192b9-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-b073ac7832d192b9-1","kind":"pre","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","1. 史诗与外部叙述：第三人称制造世界"],"text":"他被什么光照到。\n他被什么位置安排。\n他说话时谁在听。\n他的名字被什么名单保存。\n他的沉默被什么装置继续调用。","textSha256":"db40cc6eb3c60b647426c56c95746f6df621f6e2fa78ae17d7c66268b74f0aa1","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-a5b183fb1641fb4d-1","anchor":"p-a5b183fb1641fb4d-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-a5b183fb1641fb4d-1","kind":"h3","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","2. 忏悔录和自传：第一人称不是自由，而是审判台"],"text":"2. 忏悔录和自传：第一人称不是自由，而是审判台","textSha256":"366113c62ed69c0bb80943ca1a602aad6636e4e6a7f8256ff7f1ab17585d242d","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-6ea33d21ad2ce645-1","anchor":"p-6ea33d21ad2ce645-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-6ea33d21ad2ce645-1","kind":"p","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","2. 忏悔录和自传：第一人称不是自由，而是审判台"],"text":"忏悔体、日记、自传、见证文学，都让“我”站出来。","textSha256":"4d4bff1fdcd57cadfac9024fa62cc9c746931c3de7be1c7c80196ce2b5dc651d","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-d4a58fc6623cae11-1","anchor":"p-d4a58fc6623cae11-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-d4a58fc6623cae11-1","kind":"p","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","2. 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抒情诗：第一人称常常不是作者本人","textSha256":"934f85fd1bcfd6845307dbb91c15d6ccbfa7de72955c8066ac0d026dedac3881","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-da9e6f7e1780bf2c-1","anchor":"p-da9e6f7e1780bf2c-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-da9e6f7e1780bf2c-1","kind":"p","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","4. 抒情诗：第一人称常常不是作者本人"],"text":"抒情诗里大量有“我”。","textSha256":"561d22099973502e1cb93d4340156fb2af610b68d380e3661808fd6e54a3a33f","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-2bb8ca4588d8301b-1","anchor":"p-2bb8ca4588d8301b-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-2bb8ca4588d8301b-1","kind":"p","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","4. 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第一复数小说：我们是一张集体嘴"],"text":"让个人声音被集体嘴吞进去。","textSha256":"7dd893b5bef6bfcc919aeb8b2becb8362c515d2e605c3e9b66d31ea410af7c09","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-a3594bed39f21797-1","anchor":"p-a3594bed39f21797-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-a3594bed39f21797-1","kind":"p","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","8. 第一复数小说：我们是一张集体嘴"],"text":"在《人类投降派》中，“我们的演出”必须被小心处理。","textSha256":"7f535e2fd05846413134362c2203ef103f4cfc22b66fabf42d31e0d56be44748","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-2a31b8cf2ff1965e-1","anchor":"p-2a31b8cf2ff1965e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-2a31b8cf2ff1965e-1","kind":"p","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","8. 第一复数小说：我们是一张集体嘴"],"text":"它不能自动写成共同体胜利。","textSha256":"780bcb44b9a6518ace0c875c92c95bd644f2eb6cddc6c7378f761c96b4d44bc8","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-ff578909ed559d8a-2","anchor":"p-ff578909ed559d8a-2","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-ff578909ed559d8a-2","kind":"p","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","8. 第一复数小说：我们是一张集体嘴"],"text":"应该写成：","textSha256":"2e2aabe5425aa55eeaf5786dc37776fc97fc2da413e647566f0b85af62072ab2","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-337d28bb0b53c90b-1","anchor":"p-337d28bb0b53c90b-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-337d28bb0b53c90b-1","kind":"pre","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","8. 第一复数小说：我们是一张集体嘴"],"text":"我们出现了。\n但这个我们马上被人数修正、主演名单、特别鸣谢、观众感谢和低亮静默拆开。","textSha256":"1c69f1f46ed5e6978b5e638221ee1b399f0b0ecb1bfc56542f272161beb2a1c6","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-aa97d4c8e4a6fbf8-1","anchor":"p-aa97d4c8e4a6fbf8-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-aa97d4c8e4a6fbf8-1","kind":"h3","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","9. 自由间接引语：第三人称里混进第一人称"],"text":"9. 自由间接引语：第三人称里混进第一人称","textSha256":"023d45b6daac9b647a54b8b6705845a26dfa05c81cbdafc8e9811154a08b0bd8","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-d56693e01751c5f9-1","anchor":"p-d56693e01751c5f9-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-d56693e01751c5f9-1","kind":"p","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","9. 自由间接引语：第三人称里混进第一人称"],"text":"自由间接引语看起来是第三人称。","textSha256":"7b958aa33e2991b49f6ab08eefbcc275fa30f26ffc74beb930590ae4d4ec3803","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-9f1d27093f2c7d0a-1","anchor":"p-9f1d27093f2c7d0a-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-9f1d27093f2c7d0a-1","kind":"p","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","9. 自由间接引语：第三人称里混进第一人称"],"text":"但人物的感受、语气、判断会渗进去。","textSha256":"c5d32bdaec35cf276c612b8e95c501721f8279aefdd698d73e15346456c39bff","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-258efcb6f9a74658-3","anchor":"p-258efcb6f9a74658-3","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-258efcb6f9a74658-3","kind":"p","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","9. 自由间接引语：第三人称里混进第一人称"],"text":"它的作用是：","textSha256":"1aadcc1552ff0b5876336ae73ee632e57f9da388ca2f0a194b457ee6cac7f601","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-c79ebbc8e87607b7-1","anchor":"p-c79ebbc8e87607b7-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-c79ebbc8e87607b7-1","kind":"pre","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","9. 自由间接引语：第三人称里混进第一人称"],"text":"让“他/她”里面响起一个没有引号的“我”。","textSha256":"17044e046a5f7b222d5040f7aa70a4a2dd0550704a7d213c8dd53715831a21b8","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-4da3e02d2bad8f74-1","anchor":"p-4da3e02d2bad8f74-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-4da3e02d2bad8f74-1","kind":"p","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","9. 自由间接引语：第三人称里混进第一人称"],"text":"这对《人类投降派》很有用。","textSha256":"17fe946a80f37e424e58382a5665c4e6663cb9898528d8565df8ea0b46774a08","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-801d0f956349da38-1","anchor":"p-801d0f956349da38-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-801d0f956349da38-1","kind":"p","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","9. 自由间接引语：第三人称里混进第一人称"],"text":"因为片中许多位置不是纯第一，也不是纯第三：","textSha256":"3d412ae627f58ab4a33a84ed6f1654a925f3a8d88b165551c189fb8d98c1118d","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-9ad4a6394e78cab1-1","anchor":"p-9ad4a6394e78cab1-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-9ad4a6394e78cab1-1","kind":"pre","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","9. 自由间接引语：第三人称里混进第一人称"],"text":"摄影机像在看。\n但不知道是谁的看。\n声音像在说。\n但不知道归谁。\n身体像在承受。\n但不能被我们替它总结。","textSha256":"009b368e112497c109fd976c557a92fe59c1f974d1b5b12a1ace8cd14d63cd11","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-f68f0bc8ac2674e1-1","anchor":"p-f68f0bc8ac2674e1-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-f68f0bc8ac2674e1-1","kind":"p","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","9. 自由间接引语：第三人称里混进第一人称"],"text":"自由间接引语提供一个文学对应物：","textSha256":"c013c2f09129da41302e01281766da13a1912fcbe52784c7b531e7a983c96277","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-802dcc5bba8fd227-1","anchor":"p-802dcc5bba8fd227-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-802dcc5bba8fd227-1","kind":"pre","headingPath":["三、文学：人称如何制造主体、读者和幽灵地址","9. 自由间接引语：第三人称里混进第一人称"],"text":"人称可以混合。\n人称可以渗漏。\n人称不一定完整归位。","textSha256":"3f6f560420d66f601601bd2bc99e45af496980446cd6fc1834597e8dccabcc7d","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-af562e1bdd8b950a-1","anchor":"p-af562e1bdd8b950a-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-af562e1bdd8b950a-1","kind":"h2","headingPath":["四、戏剧：人称如何让观众成为现场的一部分"],"text":"四、戏剧：人称如何让观众成为现场的一部分","textSha256":"f70c5a2b2f523d14818225a87029b48f92f84924e8ee1d436b62d364f5bf1850","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-11bf0f9cc6e95fc2-1","anchor":"p-11bf0f9cc6e95fc2-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-11bf0f9cc6e95fc2-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分"],"text":"戏剧最重要的事不是角色说话。","textSha256":"c6930ff973e7d9c380ccbb9ba1e114c3d3deeab8306a2cc086f669392aae4b58","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-2fac2894d417e907-1","anchor":"p-2fac2894d417e907-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-2fac2894d417e907-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分"],"text":"是角色说话时，观众在那里。","textSha256":"b0a39c4e3a852ebe43f527828104ed090e55db4ec010ca67d9433eb0380c0945","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-69a5a3b0a4a23fc5-1","anchor":"p-69a5a3b0a4a23fc5-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-69a5a3b0a4a23fc5-1","kind":"h3","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","1. 面具与角色：第一人称不归演员"],"text":"1. 面具与角色：第一人称不归演员","textSha256":"05611aef256e788212e2cc058d32e9f70f4314d17fb178fd67ce5778bc754f10","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-71a2f80e08021639-1","anchor":"p-71a2f80e08021639-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-71a2f80e08021639-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","1. 面具与角色：第一人称不归演员"],"text":"戏剧里的演员说“我”。","textSha256":"2d886fe0d7d4f22f2e76b637cffe8dcb949b39b7427a863b9de9c7a759d18a77","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-262d81681212f06e-1","anchor":"p-262d81681212f06e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-262d81681212f06e-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","1. 面具与角色：第一人称不归演员"],"text":"但这个“我”至少属于六个东西：","textSha256":"594f85db44eeea6020e6a66bca9a93b3438c28a0885265b1451650d52d8cfcc5","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-b620b17e0f091c89-1","anchor":"p-b620b17e0f091c89-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-b620b17e0f091c89-1","kind":"pre","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","1. 面具与角色：第一人称不归演员"],"text":"演员身体。\n角色。\n剧本。\n导演调度。\n舞台灯光。\n观众听见。","textSha256":"a26be56d31cd325319058ae80dc828cdd58d399b9a63cc62dccf16d011c00641","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-4f85411b5d5450cc-1","anchor":"p-4f85411b5d5450cc-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-4f85411b5d5450cc-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","1. 面具与角色：第一人称不归演员"],"text":"所以戏剧第一人称从一开始就不纯。","textSha256":"002ed5ff592d7ee91a461bf8ee7b1e6f67e58518b8229eb53cdfd4df253071f9","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-aa9a8d8f77b66768-1","anchor":"p-aa9a8d8f77b66768-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-aa9a8d8f77b66768-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","1. 面具与角色：第一人称不归演员"],"text":"它不是：","textSha256":"01cb686700e8fe3da72bb8bddfb6c385ce291e95643dd5cffa18954cd7ac1054","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-ea982f2f68dc36f1-1","anchor":"p-ea982f2f68dc36f1-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-ea982f2f68dc36f1-1","kind":"pre","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","1. 面具与角色：第一人称不归演员"],"text":"演员本人表达自己。","textSha256":"90f41ba721f8b65dec25ac54bb9dc44047a827191401cc14473cdccb44b26131","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-e17de75673b5f4ec-1","anchor":"p-e17de75673b5f4ec-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-e17de75673b5f4ec-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","1. 面具与角色：第一人称不归演员"],"text":"而是：","textSha256":"11a4e49bc86c596b2d7dd566df0f3bf24514b94ddc53aefb0445dec4b610c23e","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-7fb8b54b202b3ec2-1","anchor":"p-7fb8b54b202b3ec2-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-7fb8b54b202b3ec2-1","kind":"pre","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","1. 面具与角色：第一人称不归演员"],"text":"一具身体暂时承担一个角色的我。","textSha256":"a1b5d635fa51090af97d335837c1afbfb7fd82f32380906493080ab530d57586","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-d6d10c487eb25598-1","anchor":"p-d6d10c487eb25598-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-d6d10c487eb25598-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","1. 面具与角色：第一人称不归演员"],"text":"这直接帮助我们理解 代说 ：","textSha256":"697b5110c807b9e7d3d0123b135195d4bae11dd8d61048b732a50a55ab257d68","links":["https://a.p4theater.top/research/hs-53f975ab33f5d268"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-b4916e625264235d-1","anchor":"p-b4916e625264235d-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-b4916e625264235d-1","kind":"pre","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","1. 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合唱队：第四人称的古老形态"],"text":"古希腊悲剧中的合唱队不是简单背景音乐。","textSha256":"2354d9b26c5e19c45135aac1c0292fb95756748cc48f2720ff32d9356ee5ef01","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-0b8b4980dc4f1c9c-1","anchor":"p-0b8b4980dc4f1c9c-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-0b8b4980dc4f1c9c-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","2. 合唱队：第四人称的古老形态"],"text":"它常常承担评论、见证、公共感受、恐惧和判断的功能。","textSha256":"3f1c990eaaf221bf1346a6c5b3626d48fa16e05ba18ef076cc6755445a3c5a32","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-22242efe0a57b6d6-1","anchor":"p-22242efe0a57b6d6-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-22242efe0a57b6d6-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","2. 合唱队：第四人称的古老形态"],"text":"合唱队不是第一人称，也不是第二人称，也不只是第三人称。","textSha256":"ec37b1d5303c5488bf3389a88770f4c1d450426870e01b8e8cf649e20e798b12","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-4611ab967a96afd0-1","anchor":"p-4611ab967a96afd0-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-4611ab967a96afd0-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","2. 合唱队：第四人称的古老形态"],"text":"它更接近本书所谓第四人称：","textSha256":"bdec6c259ea9f3f90db9f242f00f009a07437596b3f22da3404005ec6dd05754","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-8fbf5fa2b21fa8fb-1","anchor":"p-8fbf5fa2b21fa8fb-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-8fbf5fa2b21fa8fb-1","kind":"pre","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","2. 合唱队：第四人称的古老形态"],"text":"不一定直接行动。\n但让行动变成公共事件。","textSha256":"54e63d03c955ddb202b581545b085ceae9e2c96e5f1a902a3b7935a4a6dcd912","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-8b73612d8f6fe7b3-1","anchor":"p-8b73612d8f6fe7b3-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-8b73612d8f6fe7b3-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","2. 合唱队：第四人称的古老形态"],"text":"合唱队对《人类投降派》的启发是：","textSha256":"2d8526d2a208222bcfc7ff183fba1a0e2e17061ac4f0fc2728df580809aa8c3e","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-dc595efad832c663-1","anchor":"p-dc595efad832c663-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-dc595efad832c663-1","kind":"pre","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","2. 合唱队：第四人称的古老形态"],"text":"观众不是后来才出现的消费者。\n观众作为见证位置，早就参与了事件如何成立。","textSha256":"9372ebfb339ae230f61e44ca849746d79bc66c87b6bd08b4349289e0dc17ad82","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-928cf7e501404e96-1","anchor":"p-928cf7e501404e96-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-928cf7e501404e96-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","2. 合唱队：第四人称的古老形态"],"text":"第四部分观众席、掌声、感谢各位、我们的演出，就是这种第四人称进入片内结构的时刻。","textSha256":"3772a204ac5d7da003cb31162ea4ac9fd3edfb00bc595a6f62d3f1cdf577f1c4","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-14d7898514707fe6-1","anchor":"p-14d7898514707fe6-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-14d7898514707fe6-1","kind":"h3","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","3. 独白和旁白：观众变成秘密收件人"],"text":"3. 独白和旁白：观众变成秘密收件人","textSha256":"834e66a8b3903e015152fb7054d7a1f6c1eba8502207e48fb06738f9ce04a765","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-08e2562420597ce4-1","anchor":"p-08e2562420597ce4-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-08e2562420597ce4-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","3. 独白和旁白：观众变成秘密收件人"],"text":"舞台独白让角色对观众说出其他角色听不见的话。","textSha256":"a10617f00ff54d7f0e74e70e115719c5c284905fa54c3c16571bdae32a54a4b2","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-95bb6819f2925c6e-1","anchor":"p-95bb6819f2925c6e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-95bb6819f2925c6e-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","3. 独白和旁白：观众变成秘密收件人"],"text":"旁白、aside、soliloquy 都会制造一个奇怪的“你”：","textSha256":"8a113bae1303314ff6cb8a36aa727e0623f33245a28f2bcd065e9d8a9c3e328e","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-e25dedd2c7840077-1","anchor":"p-e25dedd2c7840077-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-e25dedd2c7840077-1","kind":"pre","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","3. 独白和旁白：观众变成秘密收件人"],"text":"台上角色的你不在这里。\n但观众被当作秘密听者。","textSha256":"c1d54eb8a911c31f60402a0f372af87b072ff0f7af98412e11a1bd3c0ee26f42","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-8b84960fe48f2d5a-1","anchor":"p-8b84960fe48f2d5a-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-8b84960fe48f2d5a-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","3. 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第四堵墙：观众被隔开，也被制造"],"text":"它说：","textSha256":"c4bb972076bbd125fb80f8c75966a41684f95f0429c6d739949c1a43e8bdf2be","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-6f056245b912ce3d-1","anchor":"p-6f056245b912ce3d-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-6f056245b912ce3d-1","kind":"pre","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","4. 第四堵墙：观众被隔开，也被制造"],"text":"演员好像不知道观众在。\n观众好像可以安全地看。","textSha256":"5358f89df03c86568179793ba6c59bcbc09f99e821dc8e5406b204955d34178f","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-511216a7ea3c904b-1","anchor":"p-511216a7ea3c904b-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-511216a7ea3c904b-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","4. 第四堵墙：观众被隔开，也被制造"],"text":"一旦破墙，观众的安全位置被打断：","textSha256":"fda3a1d1c5d0bfe720f411c5b1ea287fb5fc328b3d52008c1b8077f74ddf5647","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-2dc4adff67245b07-1","anchor":"p-2dc4adff67245b07-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-2dc4adff67245b07-1","kind":"pre","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","4. 第四堵墙：观众被隔开，也被制造"],"text":"你不只是看戏的人。\n你正在被戏看见。","textSha256":"a51a0021ba5fd348a8ea7be6782a60458b01d2838aab7b4a71585adc393eaf0f","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-44bae2e65fa71bcb-1","anchor":"p-44bae2e65fa71bcb-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-44bae2e65fa71bcb-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","4. 第四堵墙：观众被隔开，也被制造"],"text":"这和 被看见的观看 完全同构。","textSha256":"26b02082f5ed444c60288cd78a60ad85c6cce34d18cf7d5c86ae4432b5389d9a","links":["https://a.p4theater.top/research/hs-ea12d0aba78f3b5b"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-80667e0ba3eaf8ef-1","anchor":"p-80667e0ba3eaf8ef-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-80667e0ba3eaf8ef-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","4. 第四堵墙：观众被隔开，也被制造"],"text":"电影中的直视镜头、摄影机被指认、观众入画、片尾感谢，都是第四堵墙的变体。","textSha256":"2177145e3e626b7f0a3e82ef890814410b63624acdb14704204f14351047dbc1","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-846213b1a23d9842-1","anchor":"p-846213b1a23d9842-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-846213b1a23d9842-1","kind":"h3","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","5. 布莱希特式间离：不让观众昏睡在代入里"],"text":"5. 布莱希特式间离：不让观众昏睡在代入里","textSha256":"dc613c494db6fe3fa1105e26a7be7f2a61c60c1ac0d0bb56eb98f1bf8f3b6d1b","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-dbfee7e6e107bb96-1","anchor":"p-dbfee7e6e107bb96-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-dbfee7e6e107bb96-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","5. 布莱希特式间离：不让观众昏睡在代入里"],"text":"间离效果不是冷冰冰地拒绝情感。","textSha256":"4ffc5fa58e88df4f02289750a0ad73d2f7ecf1e98e1ce463bc9626cf6ce12859","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-8c3c486d36ff273d-1","anchor":"p-8c3c486d36ff273d-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-8c3c486d36ff273d-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","5. 布莱希特式间离：不让观众昏睡在代入里"],"text":"它是阻止观众把观看误认为自然。","textSha256":"dce1e0fc5ed5f1f1a7d42bd15d379c10717f3546a63199e26b1401f3e5ebfd28","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-8588d6ad1422ca62-1","anchor":"p-8588d6ad1422ca62-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-8588d6ad1422ca62-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","5. 布莱希特式间离：不让观众昏睡在代入里"],"text":"它让观众意识到：","textSha256":"50794f629ae0a447f0f27ec5cd4fb7c3eb180dfd7c33a420bf20439de6112154","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-2fc2dcdd59295b11-1","anchor":"p-2fc2dcdd59295b11-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-2fc2dcdd59295b11-1","kind":"pre","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","5. 布莱希特式间离：不让观众昏睡在代入里"],"text":"我正在看一个被制作的事件。\n我不是无辜眼睛。\n我必须判断我为什么这样看。","textSha256":"3ab64a48cbe10b08bae5b6b31e4de9cff00d7f41a59781c7b526212149404c09","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-7f5b6c0c52c91d32-1","anchor":"p-7f5b6c0c52c91d32-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-7f5b6c0c52c91d32-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","5. 布莱希特式间离：不让观众昏睡在代入里"],"text":"这给《人类投降派》一个重要判断：","textSha256":"a7b72e511e4ecb15f282e217065e828bcd75cfab1eaa7977ab3ba493218c125e","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-a2467092ebfd0f66-1","anchor":"p-a2467092ebfd0f66-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-a2467092ebfd0f66-1","kind":"pre","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","5. 布莱希特式间离：不让观众昏睡在代入里"],"text":"第二人称电影不是沉浸。\n第二人称电影是把观众叫醒。","textSha256":"f44e661fd532508b50761a6a3e88f12998990f9a6f2365c8caa3edd3d15a6117","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-a960cefc2a3d11df-1","anchor":"p-a960cefc2a3d11df-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-a960cefc2a3d11df-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","5. 布莱希特式间离：不让观众昏睡在代入里"],"text":"你不是进入角色。","textSha256":"03043e11ebbabb02323da89f9e44d56d50114d7f3c3064daf8d531c72835d287","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-539bd18bcb6eae91-1","anchor":"p-539bd18bcb6eae91-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-539bd18bcb6eae91-1","kind":"p","headingPath":["四、戏剧：人称如何让观众成为现场的一部分","5. 布莱希特式间离：不让观众昏睡在代入里"],"text":"你是发现自己被安排成一个迟到观看者。","textSha256":"ff15d9413ec54bb0bc5a5077d6953cadec9c75c580b4f9d929780cfa3e634a05","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-6ca5c6e4fcee5285-1","anchor":"p-6ca5c6e4fcee5285-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-6ca5c6e4fcee5285-1","kind":"h2","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开"],"text":"五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","textSha256":"ad2ab00bdcc3d9e3f2c7fc4bbd12217280147347d78d4e88f7b9aed3193b2965","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-a2f87b8a93013ea0-1","anchor":"p-a2f87b8a93013ea0-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-a2f87b8a93013ea0-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开"],"text":"电影的人称比文学更复杂。","textSha256":"a7548c8539c85a45c80351b531f427b92e864901fcba013adb875487b5a3cd60","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-50734269d7393603-1","anchor":"p-50734269d7393603-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-50734269d7393603-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开"],"text":"因为电影不是只有语法。","textSha256":"b399c3245635581c96f69bfdd0cd2e9eb44a3733a92c9216d32186aeb6ae1fc2","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-32b583988f242fef-1","anchor":"p-32b583988f242fef-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-32b583988f242fef-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开"],"text":"电影有：","textSha256":"fbc1de3365612b31661c53a7ff13b14fc9e5b0e98032462915dbd482750af51a","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-307e44f6674bfdc5-1","anchor":"p-307e44f6674bfdc5-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-307e44f6674bfdc5-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开"],"text":"镜头位置。\n视线方向。\n声音来源。\n剪辑关系。\n字幕。\n片尾名单。\n观看场所。\n回放设备。\n平台算法。","textSha256":"ec4067e81d5c45db7d3d0743214ae90d9ecfcc57c75bfdb21d5f1aab920829a2","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-cc4a79983d539eb0-1","anchor":"p-cc4a79983d539eb0-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-cc4a79983d539eb0-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开"],"text":"每一个都能改写人称。","textSha256":"67bb310afb5c5cda33b8906df34bd02e7447360497b26dcbd8042a8a77a6bcac","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-6b740e9df94cbd3b-1","anchor":"p-6b740e9df94cbd3b-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-6b740e9df94cbd3b-1","kind":"h3","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","1. 第三人称镜头：他被看见"],"text":"1. 第三人称镜头：他被看见","textSha256":"f52ccd9d4d0c102c206da84fde9c7b0ee247c0d4793879ad5ed04728239f246b","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-5f5acdeebeb44f15-1","anchor":"p-5f5acdeebeb44f15-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-5f5acdeebeb44f15-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","1. 第三人称镜头：他被看见"],"text":"最常规的电影观看是第三人称式：","textSha256":"5ce46e923d3578ac9d6c87e9eceadd299416cc767303c247020375ba90d97c56","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-5dbae7182833760d-1","anchor":"p-5dbae7182833760d-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-5dbae7182833760d-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","1. 第三人称镜头：他被看见"],"text":"我们看见他。\n他在画面里。\n他被叙述。","textSha256":"23aaf5262651460995158c3bd0cb9a235c47e14b0efb2bec9b6c73e3113b67df","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-4702b5cba449704b-1","anchor":"p-4702b5cba449704b-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-4702b5cba449704b-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","1. 第三人称镜头：他被看见"],"text":"它的力量是建立场面。","textSha256":"fd91251e1bc05a418bcad7962d39e76565be70cdf0724a293f2934d42b53f414","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-f405be704e362c29-1","anchor":"p-f405be704e362c29-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-f405be704e362c29-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","1. 第三人称镜头：他被看见"],"text":"它的危险是制造掌握感。","textSha256":"48326328f30bd3fff3fd00bfa800a830dae82fb146bdb2b06acaa1742d7ea4ef","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-7f54085c5aad4861-1","anchor":"p-7f54085c5aad4861-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-7f54085c5aad4861-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","1. 第三人称镜头：他被看见"],"text":"观众会以为：","textSha256":"c1681942eaf98d8f540760c8efb3d13ba5ed5b1a93a082ab98a35d5b6ebe4a5b","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-854c573ecbe8911f-1","anchor":"p-854c573ecbe8911f-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-854c573ecbe8911f-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","1. 第三人称镜头：他被看见"],"text":"我看见了他。\n所以我理解他。","textSha256":"25a70f2443436c734781a2b4fc55971a46cb28aad6903949a85b52146953b43b","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-ba4d3c01eb9fbc82-1","anchor":"p-ba4d3c01eb9fbc82-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-ba4d3c01eb9fbc82-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","1. 第三人称镜头：他被看见"],"text":"《人类投降派》一直在抵抗这种危险。","textSha256":"b2a4c0b03c0b7fbc15432ddadcd985d233499e94a1b49b71dafe023972ddfd02","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-1dd4d2ad67961501-1","anchor":"p-1dd4d2ad67961501-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-1dd4d2ad67961501-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","1. 第三人称镜头：他被看见"],"text":"看见不是拥有。","textSha256":"6e20144497182a22b201fc867f86e263dd038454ca679c79fd4c21b52e416986","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-da7d6bc1d9d6ddbd-1","anchor":"p-da7d6bc1d9d6ddbd-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-da7d6bc1d9d6ddbd-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","1. 第三人称镜头：他被看见"],"text":"拍到不是结清。","textSha256":"c1d97444f429dd96284e69e67aeb6921981c877ed586dd16939eb1dcbe305994","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-addf4b7982b01ffc-1","anchor":"p-addf4b7982b01ffc-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-addf4b7982b01ffc-1","kind":"h3","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","2. 第一人称镜头和 POV：我借到一只眼睛"],"text":"2. 第一人称镜头和 POV：我借到一只眼睛","textSha256":"2ab7550b49523021ef627a669a398d9b04f3e6648d8b46eed8c69bc6a962c392","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-4492a1c13bf236e2-1","anchor":"p-4492a1c13bf236e2-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-4492a1c13bf236e2-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","2. 第一人称镜头和 POV：我借到一只眼睛"],"text":"POV 镜头让观众像从某人眼睛里看。","textSha256":"3ae202dfb49ef33e7277d64599fddba44115dbbb49661d77533a65084ceae846","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-258efcb6f9a74658-4","anchor":"p-258efcb6f9a74658-4","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-258efcb6f9a74658-4","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","2. 第一人称镜头和 POV：我借到一只眼睛"],"text":"它的作用是：","textSha256":"1aadcc1552ff0b5876336ae73ee632e57f9da388ca2f0a194b457ee6cac7f601","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-0e52f37fa54cf7a8-1","anchor":"p-0e52f37fa54cf7a8-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-0e52f37fa54cf7a8-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","2. 第一人称镜头和 POV：我借到一只眼睛"],"text":"把观看暂时交给一个身体。","textSha256":"a9545c508f19c5e42c0fd6934f6358937ba2f9c3c339be462de4323207a15b5d","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-999ce438cb6a0a8f-1","anchor":"p-999ce438cb6a0a8f-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-999ce438cb6a0a8f-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","2. 第一人称镜头和 POV：我借到一只眼睛"],"text":"但它也容易制造幻觉：","textSha256":"362ad208ef7ba44c6d060db250124f22aa531f8b156b8f4985e5dcdf69802653","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-9f6966725dd93630-1","anchor":"p-9f6966725dd93630-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-9f6966725dd93630-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","2. 第一人称镜头和 POV：我借到一只眼睛"],"text":"我看到的，就是角色看到的。\n我进入了角色。\n我拥有了这个视角。","textSha256":"de50600720f9dd274a16997b3f97f944dad47e4b548dd8bb29952536df8eeafd","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-bd03f8c721b5ed82-1","anchor":"p-bd03f8c721b5ed82-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-bd03f8c721b5ed82-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","2. 第一人称镜头和 POV：我借到一只眼睛"],"text":"《人类投降派》的关键不是加强 POV，而是拆掉 POV。","textSha256":"e6855c035d2442d27d72fb79da9db94bfdca4e12d455c34d1c345ad69369d3d4","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-3739c8ec51911946-2","anchor":"p-3739c8ec51911946-2","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-3739c8ec51911946-2","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","2. 第一人称镜头和 POV：我借到一只眼睛"],"text":"更准确地说：","textSha256":"ab7e152c46cd94cd0a7f5a710249e6531c7b132396f208ac7b80c5c9a080a136","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-217eec9332c3128e-1","anchor":"p-217eec9332c3128e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-217eec9332c3128e-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","2. 第一人称镜头和 POV：我借到一只眼睛"],"text":"它让观看像第一人称，\n但又让这个第一人称不断出体。","textSha256":"af7cfef3e8f0098f83e67b3a5070d0dc1210a4846e7b9db535ca61e1b9ad2b79","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-ff8395c860dbe72b-1","anchor":"p-ff8395c860dbe72b-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-ff8395c860dbe72b-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","2. 第一人称镜头和 POV：我借到一只眼睛"],"text":"对应 第一人称出体 ：","textSha256":"ba45251de540abd7d93cdca3abe3148591c045cc4fbcc4c82df137f55bc82216","links":["https://a.p4theater.top/research/hs-f7d61bb4b0423cee"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-5bd1f00b0bfc3b8d-1","anchor":"p-5bd1f00b0bfc3b8d-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-5bd1f00b0bfc3b8d-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","2. 第一人称镜头和 POV：我借到一只眼睛"],"text":"我看世界。\n我看见我正在看。\n我发现我正在被看。","textSha256":"9e551578c3641dde49c1729cef253882b5318f527a7ba5405ca19589779138cd","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-51a0aabe2c98fcda-1","anchor":"p-51a0aabe2c98fcda-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-51a0aabe2c98fcda-1","kind":"h3","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","3. 第二人称镜头：你被带进来，但你不拥有这里"],"text":"3. 第二人称镜头：你被带进来，但你不拥有这里","textSha256":"dc8972ff75da23ccc1a12fae589c582e7d5100bb6f6cd6c1287b53a2bf58c6b6","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-cdc07b3ba226d242-1","anchor":"p-cdc07b3ba226d242-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-cdc07b3ba226d242-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","3. 第二人称镜头：你被带进来，但你不拥有这里"],"text":"第二人称电影不是观众代入。","textSha256":"1ab0b2d7a5e89439dc8012226f355c7218ec3dd4f2e09a55c0acfca7b28e14ff","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-844a7cc021bac663-1","anchor":"p-844a7cc021bac663-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-844a7cc021bac663-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","3. 第二人称镜头：你被带进来，但你不拥有这里"],"text":"它更像：","textSha256":"dfed3e721b49577f3a9ad368b3f4fc17a2f18ce8000db283291f62a3b0a764f5","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-020903d18b5e28c0-1","anchor":"p-020903d18b5e28c0-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-020903d18b5e28c0-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","3. 第二人称镜头：你被带进来，但你不拥有这里"],"text":"镜头、声音、人物和现场一起对未来观看者说：\n你到了。\n但你迟到了。\n你看见了。\n但你不能继承。","textSha256":"1442bd3d4450782f7e15bfa0874c0a3ca0a4886a100d54767abcca4f623d7d21","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-cb9d2f2329aaac55-1","anchor":"p-cb9d2f2329aaac55-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-cb9d2f2329aaac55-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","3. 第二人称镜头：你被带进来，但你不拥有这里"],"text":"这和一般沉浸式影像不同。","textSha256":"e505d8bb45ade7921794ba7753740d54a0e91de38ff76128662077a81f724e62","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-30a6efcde300a2d6-1","anchor":"p-30a6efcde300a2d6-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-30a6efcde300a2d6-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","3. 第二人称镜头：你被带进来，但你不拥有这里"],"text":"沉浸式影像常常说：","textSha256":"963b63b9353c7195840f346dac0847264995df2dbe4e70a6bb7869899286fb19","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-766be75ffee7393b-1","anchor":"p-766be75ffee7393b-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-766be75ffee7393b-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","3. 第二人称镜头：你被带进来，但你不拥有这里"],"text":"你就在这里。","textSha256":"dbcb2a546872faf25ca80060ac7c9c3a24fa7d023d9fa0cc4b0931f934bbc3e2","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-c3568a224256af5a-1","anchor":"p-c3568a224256af5a-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-c3568a224256af5a-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","3. 第二人称镜头：你被带进来，但你不拥有这里"],"text":"《人类投降派》说：","textSha256":"3c4d66c97fdc340d6e5d111f6ed272e38ba20424a0a9c58a582dc1e9e16f100b","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-e52072e21cfb99b2-1","anchor":"p-e52072e21cfb99b2-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-e52072e21cfb99b2-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","3. 第二人称镜头：你被带进来，但你不拥有这里"],"text":"你像在这里。\n但你不完全在这里。\n你被叫到。\n也被限制。","textSha256":"5274f5f26ccde23e3dea187df3445a74ca40482c2d51bd5f829aff81f90c5cd8","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-b5808435df7aa152-1","anchor":"p-b5808435df7aa152-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-b5808435df7aa152-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","3. 第二人称镜头：你被带进来，但你不拥有这里"],"text":"这就是 技术幽灵性 的核心。","textSha256":"469768327931955303ab271a11c0cc7e2085d5dec065e24406c924bce43bca90","links":["https://a.p4theater.top/research/hs-3e51d7911252e944"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-9a5f542e6147326f-1","anchor":"p-9a5f542e6147326f-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-9a5f542e6147326f-1","kind":"h3","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","4. 直视镜头：画面里的他忽然把你叫出来"],"text":"4. 直视镜头：画面里的他忽然把你叫出来","textSha256":"2db7b061d8348fc0018b921cfc69b91e9fb0af4c0602328491c98091dc83eb0f","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-4939288f7efd9575-1","anchor":"p-4939288f7efd9575-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-4939288f7efd9575-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","4. 直视镜头：画面里的他忽然把你叫出来"],"text":"当人物看向镜头，第三人称会破裂。","textSha256":"43cd84aaa382ae4f8d35b8cefa985b92e6888fa128e98dc981d1af1aaeecd7e9","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-61435a2605b5ff72-1","anchor":"p-61435a2605b5ff72-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-61435a2605b5ff72-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","4. 直视镜头：画面里的他忽然把你叫出来"],"text":"原本是：","textSha256":"e4dba6a9376f6b27221547595ebcc53bc1bd3afd9c5d7858d1c2c3bfa71a2ea0","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-0ba03d82bdab204d-1","anchor":"p-0ba03d82bdab204d-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-0ba03d82bdab204d-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","4. 直视镜头：画面里的他忽然把你叫出来"],"text":"我看他。","textSha256":"8b6425e56b56865d9934972b87f19f294b6be6fea4a087df1de67dea5ad7aab1","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-7eb8cf241772cafc-1","anchor":"p-7eb8cf241772cafc-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-7eb8cf241772cafc-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","4. 直视镜头：画面里的他忽然把你叫出来"],"text":"忽然变成：","textSha256":"1067cc49f252f9d93136508c9c08cc31a80ebf099a292b754b2909ca2147b1a2","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-75d5f39a556b64c2-1","anchor":"p-75d5f39a556b64c2-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-75d5f39a556b64c2-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","4. 直视镜头：画面里的他忽然把你叫出来"],"text":"他看见我在看。","textSha256":"d7d9e22423503e1f8dfc41e4d1398af8b0c191fb1a92a481c92f0cc1bad4d096","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-5fa2d73ab73b9ae3-1","anchor":"p-5fa2d73ab73b9ae3-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-5fa2d73ab73b9ae3-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","4. 直视镜头：画面里的他忽然把你叫出来"],"text":"这就是电影里最直接的第二人称风险。","textSha256":"7ae915ef0d38c93496b3956a02cb91a393c39674e30194af8e4677ce7dc46942","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-57df5af726ba5797-1","anchor":"p-57df5af726ba5797-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-57df5af726ba5797-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","4. 直视镜头：画面里的他忽然把你叫出来"],"text":"但要注意，不是所有直视镜头都强。","textSha256":"efd3942526b61ee02746b186bb27653d10b075f021e131ff67483f80a4ecc186","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-47a5aae601e33c9a-1","anchor":"p-47a5aae601e33c9a-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-47a5aae601e33c9a-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","4. 直视镜头：画面里的他忽然把你叫出来"],"text":"真正强的不是“看镜头”这个动作，而是它是否改变观看责任：","textSha256":"c9587a47cb34e60f2cd14bac4d4dfaeb96b7a9bd4834dc370573dccf98df2e78","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-960340a609debed9-1","anchor":"p-960340a609debed9-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-960340a609debed9-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","4. 直视镜头：画面里的他忽然把你叫出来"],"text":"观众是否还能安全旁观？\n摄影机是否被暴露成现场的一部分？\n这次看见是否使观看者必须承认自己也在场？","textSha256":"29b8f1d1e49fcc4dc58af7ff7ef24b4c2bfe2f4af4bbc15cb300a99217838d79","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-025b625f294416a9-1","anchor":"p-025b625f294416a9-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-025b625f294416a9-1","kind":"h3","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","5. 画外音：一个不在画面里的我"],"text":"5. 画外音：一个不在画面里的我","textSha256":"222c86ecf7e560254865ed7a6414ebdc6655f28d0d670c60353a48632c74310e","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-cac41958ed74eea1-1","anchor":"p-cac41958ed74eea1-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-cac41958ed74eea1-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","5. 画外音：一个不在画面里的我"],"text":"画外音可以制造强烈的第一人称。","textSha256":"3ddfb25f74887662bf1946df633296cdcdf1f6ddc7682ed4658da22de730af94","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-18385ad0933dca21-1","anchor":"p-18385ad0933dca21-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-18385ad0933dca21-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","5. 画外音：一个不在画面里的我"],"text":"但它也可能把人称拆开：","textSha256":"dfbf482ba8749b54f62fc2e6559bb92e1f02743433c43380aa30409abea51e5c","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-0dad68ce9db40520-1","anchor":"p-0dad68ce9db40520-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-0dad68ce9db40520-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","5. 画外音：一个不在画面里的我"],"text":"画面里是过去的他。\n声音里是后来的我。\n观众在现在听。","textSha256":"4108851893a8a23b1d21fcc4457677a51239601784ca60f6e0fed9b6ba44c835","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-507a38ae893708f2-1","anchor":"p-507a38ae893708f2-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-507a38ae893708f2-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","5. 画外音：一个不在画面里的我"],"text":"这时第一人称已经被时间撕开。","textSha256":"75d931c6d47d79550efbcc474e18a383070bbe662f3044030f70e0a86d1853fe","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-b37dd1b2ac0523be-1","anchor":"p-b37dd1b2ac0523be-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-b37dd1b2ac0523be-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","5. 画外音：一个不在画面里的我"],"text":"一个人说“我”，但这个“我”可能是：","textSha256":"3ff6fb7f568662fe9f2ecfd78fe2faf718f7b7bd42e63d148d7357372c6bc05d","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-f6de5f5c6b66c6e2-1","anchor":"p-f6de5f5c6b66c6e2-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-f6de5f5c6b66c6e2-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","5. 画外音：一个不在画面里的我"],"text":"当时的我。\n后来的我。\n记忆中的我。\n伪装的我。\n已经死去后仍在说的我。","textSha256":"9250108ed2836f5196b6ac929c9d2293fc43667ef243303956aecd1de299d765","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-13c5b10d40b45ee1-1","anchor":"p-13c5b10d40b45ee1-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-13c5b10d40b45ee1-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","5. 画外音：一个不在画面里的我"],"text":"所以画外音天然带有第五人称问题：","textSha256":"6c254791b45f49a42feaf26a1b45004cc08786b1484b669478ffd06e250bfcfa","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-008129c16ecc5f14-1","anchor":"p-008129c16ecc5f14-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-008129c16ecc5f14-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","5. 画外音：一个不在画面里的我"],"text":"谁在未来接收这段后来的声音？","textSha256":"00eeba689f32c41af1fcdf3bec4548eacaaf5fb0be61c9c204fedbc770770f1f","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-5c63fcfd995b8f09-1","anchor":"p-5c63fcfd995b8f09-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-5c63fcfd995b8f09-1","kind":"h3","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","6. 字幕：第六人称翻译嘴"],"text":"6. 字幕：第六人称翻译嘴","textSha256":"15a6db97070e28daa64436ae561aa03b2337948751b7d1e9a6e3715c85413650","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-fb669c89d5f007bc-1","anchor":"p-fb669c89d5f007bc-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-fb669c89d5f007bc-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","6. 字幕：第六人称翻译嘴"],"text":"字幕常被当作工具。","textSha256":"640bdb43845ec75c7e4815e3782a436087014216a5e94f885ecb6af36281db51","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-fcf6fbdbe2bcebea-1","anchor":"p-fcf6fbdbe2bcebea-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-fcf6fbdbe2bcebea-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","6. 字幕：第六人称翻译嘴"],"text":"但字幕是强大的人称装置。","textSha256":"16103515374b1a27029145fa56d23e8c9588c8343bcc902a7814a9dc9a976e14","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-981248433412a3ee-1","anchor":"p-981248433412a3ee-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-981248433412a3ee-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","6. 字幕：第六人称翻译嘴"],"text":"它决定：","textSha256":"ff87e03a3f2acbc3b8ac05715e203cfe96b8eeef9bcb840fc58f43f1473fbf72","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-9542cdc78e459d98-1","anchor":"p-9542cdc78e459d98-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-9542cdc78e459d98-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","6. 字幕：第六人称翻译嘴"],"text":"谁的话被写下来。\n谁的声音被省略。\n谁被标成某人。\n谁被翻译成另一种语气。\n谁的沉默被标记为沉默。","textSha256":"0fe1562dbdcd4c040f6e905b2a168577a06a6c24c2d8064e462fe5d53c538ebf","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-d8c7c08754affdd0-1","anchor":"p-d8c7c08754affdd0-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-d8c7c08754affdd0-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","6. 字幕：第六人称翻译嘴"],"text":"字幕不是透明窗。","textSha256":"18bc96d33c2edbbceac662d7e56905df11bb9a36f0966004547de763a7feee3c","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-d6bf570b8a7c623d-1","anchor":"p-d6bf570b8a7c623d-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-d6bf570b8a7c623d-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","6. 字幕：第六人称翻译嘴"],"text":"字幕是第六人称：","textSha256":"d78bb7388beca92e34f1a60c921cc78f16c135bdb66fb926e12c78579865326b","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-f7edf8d2d9e9aba3-1","anchor":"p-f7edf8d2d9e9aba3-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-f7edf8d2d9e9aba3-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","6. 字幕：第六人称翻译嘴"],"text":"它不说我。\n但它安排谁的话能被未来读到。","textSha256":"1ae93c7a95d8b3e65369b52ae4a0b476957d9b1cb7d4b795d67072cfe75ca35e","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-08be285e18155ac7-1","anchor":"p-08be285e18155ac7-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-08be285e18155ac7-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","6. 字幕：第六人称翻译嘴"],"text":"《人类投降派》的字幕、片尾、名单和 Wiki 继续这样做。","textSha256":"8eb16ffd9d9c16a5cd7dbfde6b20fbaabe3b0f713fb867e6296796ce94d3b1fa","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-29844d94cd708242-1","anchor":"p-29844d94cd708242-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-29844d94cd708242-1","kind":"h3","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","7. 片尾名单：第三人称和第六人称合谋"],"text":"7. 片尾名单：第三人称和第六人称合谋","textSha256":"b2f6e88102b2815d90974572af7c3b0df777552cf03a728f76d309e9f78a798d","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-a39862e5ae2f5f8e-1","anchor":"p-a39862e5ae2f5f8e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-a39862e5ae2f5f8e-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","7. 片尾名单：第三人称和第六人称合谋"],"text":"片尾名单看似只是归档。","textSha256":"a6709f2ca09783b21f2199d9eaf78818793bfb7755482abccb463b71ab14c511","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-98248c57f2f190ac-1","anchor":"p-98248c57f2f190ac-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-98248c57f2f190ac-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","7. 片尾名单：第三人称和第六人称合谋"],"text":"其实它非常暴力，也非常谦卑。","textSha256":"77cffdde35b06cd97714f4ffc4bbcdf65ab28e390fa00ddee6607dbf05881d9b","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-8dc47c13f9226741-1","anchor":"p-8dc47c13f9226741-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-8dc47c13f9226741-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","7. 片尾名单：第三人称和第六人称合谋"],"text":"它把人变成：","textSha256":"b4e877eea9bae6b2085767acc29e5010ebee53186a9e379e848024adeacc3c3d","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-467fd6ff6062601e-1","anchor":"p-467fd6ff6062601e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-467fd6ff6062601e-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","7. 片尾名单：第三人称和第六人称合谋"],"text":"姓名。\n职能。\n角色。\n鸣谢。\n场地。\n机构。","textSha256":"d76cb51c1fea56681382d5d69e560ed863976eb545b29f31052eae9b9e1bb8cb","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-ccdd526592a0115e-1","anchor":"p-ccdd526592a0115e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-ccdd526592a0115e-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","7. 片尾名单：第三人称和第六人称合谋"],"text":"这是第三人称化。","textSha256":"385dd32339b3f32faacc5e42ed97c17e7b1fc2046930329d0792f47a8bee411b","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-089e8ed8e0b282ff-1","anchor":"p-089e8ed8e0b282ff-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-089e8ed8e0b282ff-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","7. 片尾名单：第三人称和第六人称合谋"],"text":"但名单又承认自己不能讲完一个人。","textSha256":"31fb16637e4d88563a3d02a4e61f7c444133a9ac45a4afbbb2a354dde30fb1dc","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-f3c396e8c4521a64-1","anchor":"p-f3c396e8c4521a64-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-f3c396e8c4521a64-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","7. 片尾名单：第三人称和第六人称合谋"],"text":"这就是第六人称的边界：","textSha256":"7f9d9f02d6e5d4cfd34064c2afd2390adfa5bf2b4291ff6e446ffee2d7204d53","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-0e9759a518706ede-1","anchor":"p-0e9759a518706ede-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-0e9759a518706ede-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","7. 片尾名单：第三人称和第六人称合谋"],"text":"它保存。\n但保存不是结清。\n它列名。\n但列名不是拥有。","textSha256":"c0ae1ae732399d2ae11f776ef8deadb5b7aeddd4f28fcb8292cfebcc48046221","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-d5bfcac0f1dd600c-1","anchor":"p-d5bfcac0f1dd600c-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-d5bfcac0f1dd600c-1","kind":"h3","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","8. 纪录片和伪纪录片：摄影机变成片内人称"],"text":"8. 纪录片和伪纪录片：摄影机变成片内人称","textSha256":"c7faaaa590a7bc197f738601f08974a4fd50bbcd3d40857733a0fc621629a2b7","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-7d7b890294435370-1","anchor":"p-7d7b890294435370-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-7d7b890294435370-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","8. 纪录片和伪纪录片：摄影机变成片内人称"],"text":"纪录片里，摄影机常常被假设为见证工具。","textSha256":"fb41426dfc1c9011cc00887af043ec9f49a5d515b07f89acc825936f044a00ba","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-30594a8766c94792-1","anchor":"p-30594a8766c94792-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-30594a8766c94792-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","8. 纪录片和伪纪录片：摄影机变成片内人称"],"text":"但只要摄影机影响被拍者，它就已经进入人称结构。","textSha256":"b273c7205b784c3d89e54e477e52a45b58bcc85d6c88092c9d0ab9df98afd71a","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-725dc882a609390e-1","anchor":"p-725dc882a609390e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-725dc882a609390e-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","8. 纪录片和伪纪录片：摄影机变成片内人称"],"text":"伪纪录片、访谈、手持影像、found footage、桌面电影、手机视频更明显：","textSha256":"ef1eed49c2533a283f48561e18ef18ebe7ad433d9c94542cc5df072a54aaa0e9","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-d974367f395619a7-1","anchor":"p-d974367f395619a7-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-d974367f395619a7-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","8. 纪录片和伪纪录片：摄影机变成片内人称"],"text":"人物知道镜头在。\n人物对镜头说话。\n人物利用镜头。\n镜头被当成另一个在场者。","textSha256":"ee23d228f57a9a2174bbb33be0446a8ed8160ebd5728e39e12a2916e876ac535","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-d45cee2b93af2ae5-1","anchor":"p-d45cee2b93af2ae5-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-d45cee2b93af2ae5-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","8. 纪录片和伪纪录片：摄影机变成片内人称"],"text":"此时摄影机不只是第三人称工具。","textSha256":"50b930ee9fb99f72c453e757f3dfdd92d9bd062538e74c0fb5bc023da6aa8e42","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-dab6e6abbabd1729-1","anchor":"p-dab6e6abbabd1729-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-dab6e6abbabd1729-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","8. 纪录片和伪纪录片：摄影机变成片内人称"],"text":"它开始成为第二人称地址、第四人称见证者和第六人称装置的混合体。","textSha256":"b27789a782fcf1feeeb5ba02b1822e6560db06ed0a28f3babe390183b2c3f14e","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-14c4077e292dbd29-1","anchor":"p-14c4077e292dbd29-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-14c4077e292dbd29-1","kind":"h3","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","9. 游戏、互动影像与直播：第二人称被系统化"],"text":"9. 游戏、互动影像与直播：第二人称被系统化","textSha256":"e3263cad4779e7bba8217d65a0ea268d9e817f540e9a54854f5664a4fe2bf94f","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-1133af7bc63cc7ef-1","anchor":"p-1133af7bc63cc7ef-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-1133af7bc63cc7ef-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","9. 游戏、互动影像与直播：第二人称被系统化"],"text":"游戏和互动影像经常直接叫“你”。","textSha256":"1f78e91ea5a190fffe4cf0abc7df2ef0178ff243a3fdcd2ca0ba2dca21f75641","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-45541e5cbaef514d-1","anchor":"p-45541e5cbaef514d-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-45541e5cbaef514d-1","kind":"p","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","9. 游戏、互动影像与直播：第二人称被系统化"],"text":"但这里的“你”也分裂：","textSha256":"91cabe807a0b33fd55a949257626f8552f3d25d1731881fccde552ca68bbf5b4","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-6859b24b3906c8dc-1","anchor":"p-6859b24b3906c8dc-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-6859b24b3906c8dc-1","kind":"pre","headingPath":["五、电影与影视：人称如何被镜头、剪辑、声音和字幕拆开","9. 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肖像：他被画出来，也可能看回你","textSha256":"0c33ca9fc2278cc1c984458b5aee118e00e7aa0e1d759985ebb633978ee3b455","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-f961aa7c9f4d3e93-1","anchor":"p-f961aa7c9f4d3e93-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-f961aa7c9f4d3e93-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","2. 肖像：他被画出来，也可能看回你"],"text":"肖像画的基本结构是第三人称：","textSha256":"be93e5d9f71586199a375f39255fc8d2922cf52f6c0b800d9089859f837ea35d","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-a90bf9d580bbfbe2-1","anchor":"p-a90bf9d580bbfbe2-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-a90bf9d580bbfbe2-1","kind":"pre","headingPath":["六、视觉艺术：观看者如何被图像叫出来","2. 肖像：他被画出来，也可能看回你"],"text":"他被画。\n她被保存。\n这个人被放进图像。","textSha256":"0aed07134237c2e3fcb857d432c38fffb3ea027920cba0c74a97c930a42fd85c","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-54c186a91c20c909-1","anchor":"p-54c186a91c20c909-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-54c186a91c20c909-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","2. 肖像：他被画出来，也可能看回你"],"text":"但一旦肖像正面凝视观众，结构会变：","textSha256":"d2cbf8e6244156a326177fa34710fc6780da60f0b4bf0888fb007ad3ec9bcf34","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-41fde24c0475efef-1","anchor":"p-41fde24c0475efef-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-41fde24c0475efef-1","kind":"pre","headingPath":["六、视觉艺术：观看者如何被图像叫出来","2. 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肖像：他被画出来，也可能看回你"],"text":"观看者被卷入。","textSha256":"85b6786860bc8ba405ad87055ae2da42065c1d2759cb6a35c392bee74a20c8b5","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-031712d3e73c4873-1","anchor":"p-031712d3e73c4873-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-031712d3e73c4873-1","kind":"h3","headingPath":["六、视觉艺术：观看者如何被图像叫出来","3. 《宫娥》：观看位置被画进画里"],"text":"3. 《宫娥》：观看位置被画进画里","textSha256":"ccd801cfcb68085d7929e8893330f4dbb67c97dbe557ef1ecb99735722990c78","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-072a743374c20c2e-1","anchor":"p-072a743374c20c2e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-072a743374c20c2e-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","3. 《宫娥》：观看位置被画进画里"],"text":"委拉斯开兹的《宫娥》常被讨论，是因为它把画家、模特、镜子、观众和权力位置纠缠到一起。","textSha256":"52bd5f744218eba1cbf0400a43e9ffd8a88db01159a9b7df2f1f56f153452ac2","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-64687adb8f8064fa-1","anchor":"p-64687adb8f8064fa-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-64687adb8f8064fa-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","3. 《宫娥》：观看位置被画进画里"],"text":"观众站在画前时，会遇到一个难题：","textSha256":"cdae09860fc62408c02101c8464cedbe8b078f1b593fa4cdc3ee37806def16d3","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-8888555fb7059ed7-1","anchor":"p-8888555fb7059ed7-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-8888555fb7059ed7-1","kind":"pre","headingPath":["六、视觉艺术：观看者如何被图像叫出来","3. 《宫娥》：观看位置被画进画里"],"text":"我是在看画中人。\n还是站在国王/王后可能所在的位置？\n画家是在画谁？\n镜子里是谁？\n我这个观看位置是不是已经被画面预设？","textSha256":"aa25c5ddba57084ea9b41a4363198dc3bd926643bc22b0c897fdeb1b068bfd4a","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-71f78a3daa35d4b0-1","anchor":"p-71f78a3daa35d4b0-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-71f78a3daa35d4b0-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","3. 《宫娥》：观看位置被画进画里"],"text":"这就是视觉艺术中的人称爆炸。","textSha256":"06661c252c02a3fa0bcc752846ce704d24ef3461995089eb10bcef16e710569e","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-bd1e5bc595a9f9d4-1","anchor":"p-bd1e5bc595a9f9d4-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-bd1e5bc595a9f9d4-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","3. 《宫娥》：观看位置被画进画里"],"text":"不是一个“我看他”。","textSha256":"99483143d9bc5964b34618eb5d251b2e63aec4377d21b0dcfe133c67fdd4d812","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-e17de75673b5f4ec-2","anchor":"p-e17de75673b5f4ec-2","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-e17de75673b5f4ec-2","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","3. 《宫娥》：观看位置被画进画里"],"text":"而是：","textSha256":"11a4e49bc86c596b2d7dd566df0f3bf24514b94ddc53aefb0445dec4b610c23e","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-c809074547dcd103-1","anchor":"p-c809074547dcd103-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-c809074547dcd103-1","kind":"pre","headingPath":["六、视觉艺术：观看者如何被图像叫出来","3. 《宫娥》：观看位置被画进画里"],"text":"我看见一个场面正在安排我如何看。","textSha256":"bb73621e40dced5abb50c854f8cb9b004cee4f0421aed717af05753bac5b6088","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-a88630be78897239-1","anchor":"p-a88630be78897239-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-a88630be78897239-1","kind":"h3","headingPath":["六、视觉艺术：观看者如何被图像叫出来","4. 现代主义与极简主义：作品把观看者的身体暴露出来"],"text":"4. 现代主义与极简主义：作品把观看者的身体暴露出来","textSha256":"a6d102e37371405adc87db979fd7e310b8fe1a9522e10be70cba1451c6d17317","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-2d67d0bcbd8c4685-1","anchor":"p-2d67d0bcbd8c4685-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-2d67d0bcbd8c4685-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","4. 现代主义与极简主义：作品把观看者的身体暴露出来"],"text":"极简主义和装置艺术常常不提供一个完整故事。","textSha256":"5290ec401ff16a82ffc1a9862aa6c82c553b86f158f8cfe7f72fcd55cbe11185","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-15b88f1f6b914d01-1","anchor":"p-15b88f1f6b914d01-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-15b88f1f6b914d01-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","4. 现代主义与极简主义：作品把观看者的身体暴露出来"],"text":"它们把物体放在空间里，让观看者意识到自己的身体、距离、移动和时间。","textSha256":"97de8bdaa625943111ee9a5ebb1ee7ff33e57bbe4baf098b6bf420ab935aa305","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-efe5e9dfb74bf19e-1","anchor":"p-efe5e9dfb74bf19e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-efe5e9dfb74bf19e-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","4. 现代主义与极简主义：作品把观看者的身体暴露出来"],"text":"这时作品不只是第三人称对象。","textSha256":"69ec0736d19c0aa0e929a6385299a2bb494c6f1775a971d9c131d11e4964586f","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-df6ac144e5b6ff65-1","anchor":"p-df6ac144e5b6ff65-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-df6ac144e5b6ff65-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","4. 现代主义与极简主义：作品把观看者的身体暴露出来"],"text":"作品对观看者说：","textSha256":"b69b4d0bcfba00f16f1c37fc82bc84875937edf5d62bacd7f3d6ec29f91339e1","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-09b1731ee474562a-1","anchor":"p-09b1731ee474562a-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-09b1731ee474562a-1","kind":"pre","headingPath":["六、视觉艺术：观看者如何被图像叫出来","4. 现代主义与极简主义：作品把观看者的身体暴露出来"],"text":"你正在这里。\n你的身体、路线、停留时间也是作品条件。","textSha256":"7deba9e6c338060e0c79c5f367970fb248f8689e05fc9a1db1cc3a06f0872fd4","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-bdc69d34d47edd47-1","anchor":"p-bdc69d34d47edd47-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-bdc69d34d47edd47-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","4. 现代主义与极简主义：作品把观看者的身体暴露出来"],"text":"Michael Fried 批评极简主义的“戏剧性”，正是因为作品太依赖观看者在场。对我们来说，这个批评反而显出关键：","textSha256":"779ad8faa77be771f6d530f556e294c7dae193d913e68e202ab045cede6c091b","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-6fe06ef90ffb6a5c-1","anchor":"p-6fe06ef90ffb6a5c-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-6fe06ef90ffb6a5c-1","kind":"pre","headingPath":["六、视觉艺术：观看者如何被图像叫出来","4. 现代主义与极简主义：作品把观看者的身体暴露出来"],"text":"现代艺术把第四人称和第二人称做强了。\n观看者不是外部评判者。\n观看者变成作品发生条件。","textSha256":"42a2ef3aa4cf7c9e55ed1d1a09d28641aeea5de68fe1df82a3c5f11ec818763b","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-37632415412bcfe5-1","anchor":"p-37632415412bcfe5-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-37632415412bcfe5-1","kind":"h3","headingPath":["六、视觉艺术：观看者如何被图像叫出来","5. 行为艺术：观众不只是看，而是承担关系"],"text":"5. 行为艺术：观众不只是看，而是承担关系","textSha256":"a2a87190b835e42c30ca6fcef28b126c2c60e96f3f22602496c7acaadc0be7dd","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-b8ec7ad590af18e0-1","anchor":"p-b8ec7ad590af18e0-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-b8ec7ad590af18e0-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","5. 行为艺术：观众不只是看，而是承担关系"],"text":"行为艺术最直接地改变人称。","textSha256":"dab1c463c45bc4938907b2e49aeac69659855ff0bc067482bbe93619dcfa4f7f","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-6e0082d6bcdad76c-1","anchor":"p-6e0082d6bcdad76c-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-6e0082d6bcdad76c-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","5. 行为艺术：观众不只是看，而是承担关系"],"text":"Marina Abramović 的 The Artist Is Present 把艺术家和观众放成面对面的时间关系。","textSha256":"00e9a2526ea8ed3132084af8afcba65939f30b1018d136fc90f3cd3f21b3aa77","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-24c61b4aca03ee0b-1","anchor":"p-24c61b4aca03ee0b-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-24c61b4aca03ee0b-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","5. 行为艺术：观众不只是看，而是承担关系"],"text":"观众不是简单看艺术家。","textSha256":"2c79aab1c21d359868b035e4f4782f61ba917af7334222308de02ff4091c6e69","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-3cbe2f5ba9282abc-1","anchor":"p-3cbe2f5ba9282abc-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-3cbe2f5ba9282abc-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","5. 行为艺术：观众不只是看，而是承担关系"],"text":"观众坐下后变成：","textSha256":"2314b71fd8de2c8de6bf58b450e21c75f1108049d0d733299b1d40f6065fbd6e","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-e741f441dc653631-1","anchor":"p-e741f441dc653631-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-e741f441dc653631-1","kind":"pre","headingPath":["六、视觉艺术：观看者如何被图像叫出来","5. 行为艺术：观众不只是看，而是承担关系"],"text":"第二人称：被艺术家面对的人。\n第四人称：被他人共同观看的见证者。\n第三人称：被现场记录、拍照、传播的人。\n第五人称：后来影像和档案中的被接收者。","textSha256":"ddeea80e98ea163aa7d6150caaba45baa3b73b0c99daf9511416175212bf20cf","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-27eda04e0cac6a40-1","anchor":"p-27eda04e0cac6a40-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-27eda04e0cac6a40-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","5. 行为艺术：观众不只是看，而是承担关系"],"text":"这非常接近《人类投降派》的第四部分：","textSha256":"b3094c84e06f697bd0309a0a99a0c5ff177b10e3571a35e6683a2231d892ede1","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-bc39a4cad785ee31-1","anchor":"p-bc39a4cad785ee31-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-bc39a4cad785ee31-1","kind":"pre","headingPath":["六、视觉艺术：观看者如何被图像叫出来","5. 行为艺术：观众不只是看，而是承担关系"],"text":"观众一旦被现场纳入，\n就不只是观众。","textSha256":"ca52abd0f81046f690bcb323b501b046bda6c27951dfefc9c9b9c544c233b075","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-79770d656c1680ac-1","anchor":"p-79770d656c1680ac-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-79770d656c1680ac-1","kind":"h3","headingPath":["六、视觉艺术：观看者如何被图像叫出来","6. 环境装置：天气、光、镜面和空间成为零人称"],"text":"6. 环境装置：天气、光、镜面和空间成为零人称","textSha256":"ae79ee7509f38a2cf7b72fe67b36134b50ca1dbafcd44219e3d4a2e43efce04c","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-9651aadda257c3b1-1","anchor":"p-9651aadda257c3b1-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-9651aadda257c3b1-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","6. 环境装置：天气、光、镜面和空间成为零人称"],"text":"Olafur Eliasson 的 The Weather Project 这类作品，不只是让人看一个太阳或空间。","textSha256":"525bb096433c1ee6be54918cf507b8ccf2666105ec3e9089e6f6fe4f9157173b","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-8588d6ad1422ca62-2","anchor":"p-8588d6ad1422ca62-2","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-8588d6ad1422ca62-2","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","6. 环境装置：天气、光、镜面和空间成为零人称"],"text":"它让观众意识到：","textSha256":"50794f629ae0a447f0f27ec5cd4fb7c3eb180dfd7c33a420bf20439de6112154","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-65cf4450706ebdba-1","anchor":"p-65cf4450706ebdba-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-65cf4450706ebdba-1","kind":"pre","headingPath":["六、视觉艺术：观看者如何被图像叫出来","6. 环境装置：天气、光、镜面和空间成为零人称"],"text":"我正在被光、雾、镜面、空间尺度和他人的身体一起制造观看。","textSha256":"b6f4bf667b99d4444d5190cda9460734e6a5de52660c2cf8244ae82ffc3d9a77","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-ce70cbfe7f1194b7-1","anchor":"p-ce70cbfe7f1194b7-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-ce70cbfe7f1194b7-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","6. 环境装置：天气、光、镜面和空间成为零人称"],"text":"这里最强的是零人称。","textSha256":"548b21cad992615b69cc2a25589dc20eb15513b87b0020ab186db6901c211130","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-a8631361b0d19e80-1","anchor":"p-a8631361b0d19e80-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-a8631361b0d19e80-1","kind":"p","headingPath":["六、视觉艺术：观看者如何被图像叫出来","6. 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不要写“档案整理完成”"],"text":"档案保存。\n档案也限制。\n档案不能把发生过的东西变成归档者的财产。","textSha256":"0b13252eba1b4403d3843c5f35c9be9834f3d3e6f1bfebea2ec336f6ea92a6da","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-be38f0bdb9c10c74-1","anchor":"p-be38f0bdb9c10c74-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-be38f0bdb9c10c74-1","kind":"h2","headingPath":["十、一句话总纲"],"text":"十、一句话总纲","textSha256":"f2152f93306cf5345264d3e1e6b39daabf94b37293dd177df3df1fa56c6a7a84","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-48857d70cdb50fc8-1","anchor":"p-48857d70cdb50fc8-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-48857d70cdb50fc8-1","kind":"pre","headingPath":["十、一句话总纲"],"text":"第一人称让人开口。\n第二人称让人被叫到。\n第三人称让人被处理。\n第四人称让事件变公共。\n第五人称让事件迟到地活下去。\n第六人称让事件被保存，也让保存必须承认自己无权结清。\n零人称则在这一切之前告诉我们：\n人不是第一个东西。","textSha256":"a5c8368d4c4f2ec2203994dcc65f70d429f534b37c687b4d846d463bf0161c6b","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-05a7b39ba2368db0-1","anchor":"p-05a7b39ba2368db0-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-05a7b39ba2368db0-1","kind":"p","headingPath":["十、一句话总纲"],"text":"再压缩：","textSha256":"9c7bdbc47d32f75be4fd6f2aa82812da7e2a61ec48ada9e316bb2b5191259481","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-891d2401b2b0f01a-1","anchor":"p-891d2401b2b0f01a-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-891d2401b2b0f01a-1","kind":"pre","headingPath":["十、一句话总纲"],"text":"人不是人。\n人是人称经过现场后，\n剩下的一点责任。","textSha256":"7890cb19e4290de8ba49c28f173bcb17f0c4cadcc9ea9a885701b18486f27bce","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-5909eeb9d79b61a4-1","anchor":"p-5909eeb9d79b61a4-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-5909eeb9d79b61a4-1","kind":"h2","headingPath":["外部参考资料与后续调研入口"],"text":"外部参考资料与后续调研入口","textSha256":"cfc16ca978db01548873da311a75ef024edf703d469d1bfccd9f4b098bfd913b","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-bf7085c0f9c0d24e-1","anchor":"p-bf7085c0f9c0d24e-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-bf7085c0f9c0d24e-1","kind":"p","headingPath":["外部参考资料与后续调研入口"],"text":"本页使用以下外部材料作为 T4 形式参照，后续如要进入正式论文或字典定稿，应逐项建立本地 sources 页、摘录证据、区分一手文本与二手解释：","textSha256":"456581093418f0046e731be4289bf4059d6a72e3830fd5bc32b5a8831e9399f1","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-884abfd7c94304cd-1","anchor":"p-884abfd7c94304cd-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-884abfd7c94304cd-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"Etymonline, person ：用于追踪 person / persona 与面具、角色、语法人称的历史语义。","textSha256":"124e74a3afd70994eca802fe1413bd9462ce2977dc4f067422c72cb158e5b341","links":["https://www.etymonline.com/word/person"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-7f0e3d2832d9880a-1","anchor":"p-7f0e3d2832d9880a-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-7f0e3d2832d9880a-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"WALS Online, Chapter 39: Inclusive/Exclusive Distinction in Independent Pronouns ：用于说明“我们”可以在语言系统中区分是否包括受话者。","textSha256":"7752e31d01d7761792a67307e12a5a1348ae298816f1986bc1540aa2909a7ae5","links":["https://wals.info/chapter/39"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-feb3061074493f9b-1","anchor":"p-feb3061074493f9b-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-feb3061074493f9b-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"WALS Online, Feature 100A: Alignment of Verbal Person Marking ：用于确认语法人称标记在世界语言中的系统差异。","textSha256":"7b3a65b538a1eb24b77cac56bd9e5ee7db401daac591f2968abf242262b4e585","links":["https://wals.info/feature/100A"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-6f81b860c4db8251-1","anchor":"p-6f81b860c4db8251-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-6f81b860c4db8251-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"Surrey Morphology Group, Grammatical Features: Person ：用于参考 person、inclusive/exclusive、obviation 等语法特征。","textSha256":"ab1a525ab5127f6b91edce87d31e8bc23889822ff059614b56917a9c350a0b2d","links":["https://www.grammaticalfeatures.net/features/person.html"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-8de1228c8bcd44ad-1","anchor":"p-8de1228c8bcd44ad-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-8de1228c8bcd44ad-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"Emile Benveniste, Subjectivity in Language ：用于参考第一/第二人称与主体性的关系。","textSha256":"1613c2c0fa707d429e73b961b2494676960d4d40cc8538ce879dcb0e7039893c","links":["https://web.vu.lt/flf/n.kersyte/files/2023/02/Benveniste-Emile_Subjectivity-in-Language.pdf"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-1ebc038bfb7158d7-1","anchor":"p-1ebc038bfb7158d7-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-1ebc038bfb7158d7-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"Church of England, The Lord's Prayer ：用于参考祈祷中的第一复数与神圣第二人称。","textSha256":"3ca6cbc0fae71dffd6667a5206928eebfc9bf5270af3514c0ca28fc79880d45a","links":["https://www.churchofengland.org/faith-life/what-we-believe/lords-prayer"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-15e21ef5b9b6bf09-1","anchor":"p-15e21ef5b9b6bf09-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-15e21ef5b9b6bf09-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"Christian Reformed Church, Nicene Creed ：用于参考共同信仰文本中的“我们”发声制度。","textSha256":"972d129c966cac00cc6888abf43105f03aaa1478d0c2a742bd5a38c02002d301","links":["https://www.crcna.org/welcome/beliefs/creeds/nicene-creed"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-0cf181d1a08b2179-1","anchor":"p-0cf181d1a08b2179-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-0cf181d1a08b2179-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"Britannica, chorus ：用于参考戏剧合唱队的公共见证功能。","textSha256":"8744df63172ff4029af6b4841813103d6e5e150b5b2ea6c46d7c4026d5b20f27","links":["https://www.britannica.com/art/chorus-theatre"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-d65a3b4ff67ee348-1","anchor":"p-d65a3b4ff67ee348-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-d65a3b4ff67ee348-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"Britannica, fourth wall ：用于参考第四堵墙与观众关系。","textSha256":"67d9f97e3d2f512938513f18903239f9a9d9c8e668d8c40e6fe4852283680df2","links":["https://www.britannica.com/art/fourth-wall"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-23d1c8632f50a099-1","anchor":"p-23d1c8632f50a099-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-23d1c8632f50a099-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"Britannica, alienation effect ：用于参考布莱希特式观众唤醒。","textSha256":"e2c417081f5695f34b058880cd026c7312770e1b7f8036f2d4f996ead7f55163","links":["https://www.britannica.com/art/alienation-effect"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-4efc0712169523a3-1","anchor":"p-4efc0712169523a3-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-4efc0712169523a3-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"Britannica, stream of consciousness ：用于参考意识流如何改造第一人称内部结构。","textSha256":"fa6152a2aa4ebd435b21ede3d93a640d3d7c681da645a19c85d88ec11bd18209","links":["https://www.britannica.com/art/stream-of-consciousness"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-a6793059281f958a-1","anchor":"p-a6793059281f958a-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-a6793059281f958a-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"Britannica, epistolary novel ：用于参考书信体与缺席收件人。","textSha256":"c28c4c545b702d217e13827968dbbba007476e9fb0839941ff9fee9efeea52b9","links":["https://www.britannica.com/art/epistolary-novel"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-14ad22984d3c69f6-1","anchor":"p-14ad22984d3c69f6-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-14ad22984d3c69f6-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"Thomas Elsaesser and Malte Hagener, Film Theory: An Introduction through the Senses ：用于后续查证电影装置、感官、观众与主体位置。","textSha256":"9ec2cc31ff8cfd2704f258ff6fbe347498a462b4e07e7eade3389d3a88ddc3be","links":["https://www.routledge.com/Film-Theory-An-Introduction-through-the-Senses/Elsaesser-Hagener/p/book/9781138214788"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-ca1616094ba239ce-1","anchor":"p-ca1616094ba239ce-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-ca1616094ba239ce-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"MoMA, Marina Abramović: The Artist Is Present ：用于参考行为艺术中艺术家与观众的面对面关系。","textSha256":"0dd489ebbdffb56c84daf484d489c4d1f875952b383149542be60709bcab2b5c","links":["https://www.moma.org/calendar/exhibitions/964"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-1fdb036035f7d86a-1","anchor":"p-1fdb036035f7d86a-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-1fdb036035f7d86a-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"Tate, Olafur Eliasson, The Weather Project ：用于参考环境装置如何让光、镜面、空间和观众共同生成观看。","textSha256":"4f563cd9a5a8dc9c28c6506f9538647faea12ac3e2bc4885358d1b114f7e9f9a","links":["https://www.tate.org.uk/art/artworks/eliasson-the-weather-project-t12565"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-61536e828e3e2703-1","anchor":"p-61536e828e3e2703-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-61536e828e3e2703-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"Museo del Prado, Las Meninas ：用于参考绘画如何预设并扰乱观看位置。","textSha256":"73128069e9eb6cae1440089b1d66e4357d5f10cfb678ad6992783dad8d320f2c","links":["https://www.museodelprado.es/en/the-collection/art-work/las-meninas/9fdc7800-9ade-48b0-ab8b-edee94ea877f"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-29ee685d635ab47f-1","anchor":"p-29ee685d635ab47f-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-29ee685d635ab47f-1","kind":"li","headingPath":["外部参考资料与后续调研入口"],"text":"Artforum, Michael Fried, Art and Objecthood ：用于参考现代艺术中的“观看者在场”与戏剧性问题。","textSha256":"57aa87c97f70bd427be45ffb6197b21b72ee3c80ced0553806cb97de1ec17a51","links":["https://www.artforum.com/features/art-and-objecthood-212437/"],"images":[]},{"id":"hs-35d1509c780dfb1d#p-6a93bdab29492f9f-1","anchor":"p-6a93bdab29492f9f-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-6a93bdab29492f9f-1","kind":"h2","headingPath":["下一步研究队列"],"text":"下一步研究队列","textSha256":"ecba392c8d73f82b1765311210cc906120b9ae4fbae5f7dad8f7d9c3e688c1cf","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-6f78b403f531de4d-1","anchor":"p-6f78b403f531de4d-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-6f78b403f531de4d-1","kind":"p","headingPath":["下一步研究队列"],"text":"这页只是第一批总谱系。后续可以继续拆成五个专题：","textSha256":"2a9f67ad5faca25b146a122fdc4573380e8769d83a947c36cc781903236433d0","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-ca441714ee587e7d-1","anchor":"p-ca441714ee587e7d-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-ca441714ee587e7d-1","kind":"li","headingPath":["下一步研究队列"],"text":"人称与祈祷 ：主祷文、诗篇、忏悔、共同回应、会众声场。","textSha256":"04fdf2277368f234043a373d1b4e65b25ca3937bd28f1f51cc848af0e95d77c9","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-e9a9c625ef04953d-1","anchor":"p-e9a9c625ef04953d-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-e9a9c625ef04953d-1","kind":"li","headingPath":["下一步研究队列"],"text":"人称与戏剧 ：合唱队、独白、旁白、破墙、观众席、后戏剧剧场。","textSha256":"e405b3c9fed59710f6a447c1187f9c2f07ceda84509ee7eff500453d29246361","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-8ab50d25265a5d02-1","anchor":"p-8ab50d25265a5d02-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-8ab50d25265a5d02-1","kind":"li","headingPath":["下一步研究队列"],"text":"人称与电影 ：POV、direct address、voice-over、apparatus、found footage、字幕和片尾。","textSha256":"5ec87f4c7c7c559b245e494735d956f0dffa467e46e8f0b4033642f92c587097","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-c021c20e7f68c76b-1","anchor":"p-c021c20e7f68c76b-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-c021c20e7f68c76b-1","kind":"li","headingPath":["下一步研究队列"],"text":"人称与视觉艺术 ：圣像、肖像、镜子、装置、行为艺术、档案艺术。","textSha256":"f28b527b4600b7401c52d8ed9bd3026fb49934ea10770d9183552a7c4b676d5d","links":[],"images":[]},{"id":"hs-35d1509c780dfb1d#p-2b03d1da54b0cf54-1","anchor":"p-2b03d1da54b0cf54-1","url":"https://a.p4theater.top/research/hs-35d1509c780dfb1d#p-2b03d1da54b0cf54-1","kind":"li","headingPath":["下一步研究队列"],"text":"人称与《人类投降派》时间线 ：把零到六人称逐分钟落到片内声画、台词、名单和 Wiki 归档。","textSha256":"23597cafd93fd583635de76be1a8c3b607002d4a1d7257d35c9c753ef2334825","links":[],"images":[]}]}