{"id":"hs-44a8a1ad443ddae2","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2","title":"虚构的重配","kind":"concept_note","reviewStatus":"structurally_screened_not_individually_reviewed","language":"zh-CN","category":"概念研究笔记","series":"概念研究笔记","sourceVersionDate":"2026-05-25","publishedAt":"2026-09-08","modifiedAt":"2026-09-07T18:27:17+00:00","markdownUrl":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2.md","editionUrl":"https://a.p4theater.top/research/data/editions/hs-44a8a1ad443ddae2-5f459f96d919ae108c78.md","markdownSha256":"5f459f96d919ae108c787060328bbc67986d344e1ca3bf73382f4788dd6f4592","markdownBytes":6467,"characters":1989,"sourceEvidenceTier":"T3_CONCEPT_OVER_T0_T1_T2","sourceStatus":"candidate","evidenceBoundary":"本概念借朗西埃'虚构即重配'理论命名影片中排练/重演操作的美学功能，不新增影片事实裁决；具体声画事实回到 T0/T1/T2 分层。","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-063888fb063ae69e","https://a.p4theater.top/research/hs-4b8cecc819669abf","https://a.p4theater.top/research/hs-6ad2baaf9b74c4d0","https://a.p4theater.top/research/hs-92d0407ae0336573","https://a.p4theater.top/research/hs-98be0d7fbe3c9ebd","https://a.p4theater.top/research/hs-a7e361fcc3ffbd9f","https://a.p4theater.top/research/hs-abdd251e91ce91e6","https://a.p4theater.top/research/hs-ae9fd57a2f19802e"],"relationMethod":"literal links and image references in the public edition; no inferred semantic support","paragraphCount":49,"markdown":"# 虚构的重配\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：2026-05-25\n\n证据边界：本概念借朗西埃'虚构即重配'理论命名影片中排练/重演操作的美学功能，不新增影片事实裁决；具体声画事实回到 T0/T1/T2 分层。\n\n# 虚构的重配\n\n## 定义\n\n`[虚构的重配](/research/hs-44a8a1ad443ddae2)` 指 Jacques Rancière 提出的虚构理论（fiction as reconfiguration）在《人类投降派》中的操作化形态：影片的排练/重演不是\"模仿真实\"或\"制造幻觉\"，而是**对\"什么算作真实\"这一坐标的重新配置**。\n\n在朗西埃的框架中，虚构（fiction）不是\"不真实\"的反义词。虚构做的事情是：\n\n1. 从日常语境中**抽取**某些元素\n2. 按照新的逻辑**重新安排**它们\n3. 制造一种新的**感性配置**——新的\"可见、可说、可感\"的秩序\n\n这不是\"创造一个假世界\"，而是在真实世界中**制造一个异质性的感性空间**。\n\n## 核心机制\n\n### 排练不是\"假的表演\"\n\n在《人类投降派》中，[出入转化排练](/research/hs-ae9fd57a2f19802e) 构成了虚构重配的核心操作。排练把\"表演\"拆解为其构成条件——身体、台词、情绪、关系——然后让这些条件在不完全就位的状态下运作。\n\n在这种不完全状态中，某些通常被代表体制（le régime représentatif）遮蔽的东西暴露出来：\n- 表演者的犹豫和不确定\n- 身体对指令的抵抗（见 [身体电路](/research/hs-6ad2baaf9b74c4d0)）\n- 关系的脆弱性和临时性\n- \"真实\"与\"演\"之间的裂缝本身\n\n排练暴露了一个事实：**\"表演\"从来不是自然发生的**，而是通过一套感性分配机制才得以实现的。\n\n### \"出入切\"作为虚构边界的持续重配\n\n[出入切](/research/hs-98be0d7fbe3c9ebd) 描述了影片中不断发生的\"进入表演/退出表演\"的切换。每一次切换都重新回答一个问题：**从什么时候开始算\"虚构\"？** 是从台词开始？从身体就位？从情绪到位？从观众入座？从摄影机开机？\n\n影片拒绝给出稳定答案。这种拒绝本身就是虚构重配的操作——它让\"虚构的起点\"成为一个永远可争议的问题。\n\n### \"真从假里发生\"作为重配的证据\n\n真从假里发生（馆内参考，未随本文公开） 描述了一种特殊的认识论事件：在\"假的排练\"中产生了\"真实的身体反应\"。在朗西埃框架下，这不意味着\"假的变成了真的\"，而是**\"真假\"这对范畴本身变得不够用**。\n\n虚构重配的效果恰恰在于此：它不是\"模糊真假\"，而是**让\"真假二分法\"本身暴露其不充分性**。\n\n## 与相邻概念的区别\n\n### 虚构的重配 vs 真从假里发生\n\n- 真从假里发生（馆内参考，未随本文公开） 关注的是**效果**——假的排练产生了真的反应\n- 虚构的重配关注的是**操作**——这种效果是如何通过重新配置感性坐标而产生的\n\n真从假里发生是虚构重配的一个**可观测结果**，虚构重配是真从假里发生的**理论机制**。\n\n### 虚构的重配 vs 出入转化排练\n\n- [出入转化排练](/research/hs-ae9fd57a2f19802e) 是影片中**具体的排练形态**——身体在不同状态之间的切换\n- 虚构的重配是这种排练的**美学理论框架**——排练为什么不只是\"准备正式演出\"，而是一种独立的美学操作\n\n### 虚构的重配 vs 叙事层逃逸\n\n- [叙事层逃逸](/research/hs-92d0407ae0336573) 关注的是**叙事层级的突破**——从一个叙事层跳到另一个\n- 虚构的重配关注的是**虚构本身的本体论地位**——虚构不是叙事层，而是对真实的重新配置\n\n两者可能同时发生：当角色从\"表演\"逃逸到\"真实\"时，这种逃逸本身就是虚构重配的一种形态。\n\n## 在美学体制中的位置\n\n朗西埃区分三种艺术体制：伦理体制、代表体制、美学体制。虚构的重配是**美学体制的核心操作**。\n\n在代表体制中，虚构有明确的规则——体裁等级、模仿法则、\"恰当的人说恰当的话\"。虚构是\"对现实的再现\"。\n\n在美学体制中，虚构的规则被取消——虚构不再是\"再现\"，而是\"重配\"。它不再需要遵循\"像不像\"的标准，而是直接**改变现实的感性坐标**。\n\n《人类投降派》是一部在美学体制中运作的影片。它的排练/重演操作不是为了\"再现\"某个事件，而是为了让观众发现**\"看见\"本身是如何被配置的**。\n\n## 支持证据\n\n本概念基于以下已有 wiki 页面的综合：\n\n- [出入转化排练](/research/hs-ae9fd57a2f19802e)：描述了排练的三种形态——身体出/入、角色出/入、叙事出/入\n- 真从假里发生（馆内参考，未随本文公开）：描述了假排练产生真反应的认识论事件\n- [出入切](/research/hs-98be0d7fbe3c9ebd)：描述了进入/退出表演的切换操作\n- [表演失效](/research/hs-abdd251e91ce91e6)：描述了表演\"失败\"时暴露的更原始的东西\n- [无法扮演的表演](/research/hs-063888fb063ae69e)：描述了某些对象本身的不可被代表性\n- [真实感受门槛](/research/hs-4b8cecc819669abf)：描述了观众判断\"这是不是真的\"的心理阈值\n- [感性分配](/research/hs-a7e361fcc3ffbd9f)：虚构重配改变了感性分配的方式\n\n## 反例或限制\n\n1. **虚构重配不等于\"一切都是虚构\"**：朗西埃的理论不是\"一切都是建构的\"这种后现代相对主义。虚构重配预设了一个**先在的真实**——它不是创造真实，而是**改变真实的感性配置**。\n\n2. **虚构重配有物质条件**：不是任何东西都可以被\"重配\"。影片中的重配依赖于具体的物质装置——摄影机、空间、身体、光线、声音。没有这些物质条件，虚构重配无法发生。\n\n3. **重配不保证解放**：虚构重配可以产生解放效果（让观众发现自己处于被分配的感性秩序中），但也可以产生新的压迫（把\"排练\"变成另一种控制手段）。影片中两者并存。","paragraphs":[{"id":"hs-44a8a1ad443ddae2#p-527427dd7fbbe7b2-1","anchor":"p-527427dd7fbbe7b2-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-527427dd7fbbe7b2-1","kind":"h2","headingPath":["虚构的重配"],"text":"虚构的重配","textSha256":"718333d73cc7cb63e1310585a92ead0341be845ea0c59ea7cd1378d605fe622c","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-4f7a45237d089b2f-1","anchor":"p-4f7a45237d089b2f-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-4f7a45237d089b2f-1","kind":"h2","headingPath":["定义"],"text":"定义","textSha256":"b4d7d450f617bcaec4e5dc0d4dd308357ae13a6599e2f3851d45e265a092a4bb","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-7211109c76a620b6-1","anchor":"p-7211109c76a620b6-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-7211109c76a620b6-1","kind":"p","headingPath":["定义"],"text":"[虚构的重配](/research/hs-44a8a1ad443ddae2) 指 Jacques Rancière 提出的虚构理论（fiction as reconfiguration）在《人类投降派》中的操作化形态：影片的排练/重演不是\"模仿真实\"或\"制造幻觉\"，而是 对\"什么算作真实\"这一坐标的重新配置 。","textSha256":"e7044292101581aeeefad559ada4afee1df89bc0eab36bc9114a8909b08eff5f","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-2037ea2d82dd039f-1","anchor":"p-2037ea2d82dd039f-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-2037ea2d82dd039f-1","kind":"p","headingPath":["定义"],"text":"在朗西埃的框架中，虚构（fiction）不是\"不真实\"的反义词。虚构做的事情是：","textSha256":"0ae7c52f261f62ab8d6c3382fba5d3d922188592d19a2dc550b753b696d108e2","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-8b3581335c70872f-1","anchor":"p-8b3581335c70872f-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-8b3581335c70872f-1","kind":"li","headingPath":["定义"],"text":"从日常语境中 抽取 某些元素","textSha256":"74293086bd24359448824663731be562006cc94bb04266058e09a8d95c4ea11a","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-595dd1acf06a18d3-1","anchor":"p-595dd1acf06a18d3-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-595dd1acf06a18d3-1","kind":"li","headingPath":["定义"],"text":"按照新的逻辑 重新安排 它们","textSha256":"ca3e2cd8159b78cde20b9dfdf7b905e8a7b2c487ccc0f19fc4657dc19d87cfe0","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-0b0d74dd8b0ae554-1","anchor":"p-0b0d74dd8b0ae554-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-0b0d74dd8b0ae554-1","kind":"li","headingPath":["定义"],"text":"制造一种新的 感性配置 ——新的\"可见、可说、可感\"的秩序","textSha256":"ec183be1ca9242481582fc3200cd99f4b9195b92f66e3ec5a8fa137244ed1a5e","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-206c0baf92d74dad-1","anchor":"p-206c0baf92d74dad-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-206c0baf92d74dad-1","kind":"p","headingPath":["定义"],"text":"这不是\"创造一个假世界\"，而是在真实世界中 制造一个异质性的感性空间 。","textSha256":"c56efb0b1d64cd518b3aa4d23666ab65b681fa9a67453d7665636475cf08b869","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-436b4add6f447e7a-1","anchor":"p-436b4add6f447e7a-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-436b4add6f447e7a-1","kind":"h2","headingPath":["核心机制"],"text":"核心机制","textSha256":"4f45966a83d4bf73c645d040cd7058da1a84a6cdd4629e905dcf2fe97fed7c67","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-4103a18ec5556a0d-1","anchor":"p-4103a18ec5556a0d-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-4103a18ec5556a0d-1","kind":"h3","headingPath":["核心机制","排练不是\"假的表演\""],"text":"排练不是\"假的表演\"","textSha256":"0993d6fccc5df9b614a2b68587c848fc0ff00ff685e25df013af114ac96cbbc5","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-0df8119a36b1b73c-1","anchor":"p-0df8119a36b1b73c-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-0df8119a36b1b73c-1","kind":"p","headingPath":["核心机制","排练不是\"假的表演\""],"text":"在《人类投降派》中， 出入转化排练 构成了虚构重配的核心操作。排练把\"表演\"拆解为其构成条件——身体、台词、情绪、关系——然后让这些条件在不完全就位的状态下运作。","textSha256":"06c434467635ded18066a1e26b226e854f5f3a72ce5882e8b2c0d9185e00a87d","links":["https://a.p4theater.top/research/hs-ae9fd57a2f19802e"],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-35ca2a9986ac42ac-1","anchor":"p-35ca2a9986ac42ac-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-35ca2a9986ac42ac-1","kind":"p","headingPath":["核心机制","排练不是\"假的表演\""],"text":"在这种不完全状态中，某些通常被代表体制（le régime représentatif）遮蔽的东西暴露出来：\n- 表演者的犹豫和不确定\n- 身体对指令的抵抗（见 身体电路 ）\n- 关系的脆弱性和临时性\n- \"真实\"与\"演\"之间的裂缝本身","textSha256":"9acc89589fb261cfa6fad6a4514d9905aea15391aa59f9a9eaceddedd96cee2f","links":["https://a.p4theater.top/research/hs-6ad2baaf9b74c4d0"],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-b6b05e1077107edb-1","anchor":"p-b6b05e1077107edb-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-b6b05e1077107edb-1","kind":"p","headingPath":["核心机制","排练不是\"假的表演\""],"text":"排练暴露了一个事实： \"表演\"从来不是自然发生的 ，而是通过一套感性分配机制才得以实现的。","textSha256":"07577720ed790e149d784b5cee3c0dd62a12554e518168fa62eb03d116fd08b5","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-3ae0ff3b71095580-1","anchor":"p-3ae0ff3b71095580-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-3ae0ff3b71095580-1","kind":"h3","headingPath":["核心机制","\"出入切\"作为虚构边界的持续重配"],"text":"\"出入切\"作为虚构边界的持续重配","textSha256":"ac47003ca01ebcba46f63a9ced015c20681e58a06ec668c723436fc4c643b793","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-0bcceaf76388ab56-1","anchor":"p-0bcceaf76388ab56-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-0bcceaf76388ab56-1","kind":"p","headingPath":["核心机制","\"出入切\"作为虚构边界的持续重配"],"text":"出入切 描述了影片中不断发生的\"进入表演/退出表演\"的切换。每一次切换都重新回答一个问题： 从什么时候开始算\"虚构\"？ 是从台词开始？从身体就位？从情绪到位？从观众入座？从摄影机开机？","textSha256":"9a424c1254f52644bf77d221a41e9b994e7d3e78d8f8f6e489d2807d1b78d58c","links":["https://a.p4theater.top/research/hs-98be0d7fbe3c9ebd"],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-dbe1dfd8fc184136-1","anchor":"p-dbe1dfd8fc184136-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-dbe1dfd8fc184136-1","kind":"p","headingPath":["核心机制","\"出入切\"作为虚构边界的持续重配"],"text":"影片拒绝给出稳定答案。这种拒绝本身就是虚构重配的操作——它让\"虚构的起点\"成为一个永远可争议的问题。","textSha256":"f167b692a36e408ec0adf06fe63c310e04caaec60c853e0ad2edf9aced8f76fd","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-5a8f27b278c4a75d-1","anchor":"p-5a8f27b278c4a75d-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-5a8f27b278c4a75d-1","kind":"h3","headingPath":["核心机制","\"真从假里发生\"作为重配的证据"],"text":"\"真从假里发生\"作为重配的证据","textSha256":"440d77ab1a098552b855d12606ec53959d637c885a9ca6ab1518e360124c6097","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-8fe760e9532f87cd-1","anchor":"p-8fe760e9532f87cd-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-8fe760e9532f87cd-1","kind":"p","headingPath":["核心机制","\"真从假里发生\"作为重配的证据"],"text":"真从假里发生（馆内参考，未随本文公开） 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：描述了排练的三种形态——身体出/入、角色出/入、叙事出/入","textSha256":"66af84e3c02e4f373087091051e25c6633b14ddc493e2753e34c812d45d33af3","links":["https://a.p4theater.top/research/hs-ae9fd57a2f19802e"],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-4850061f4f3174c2-1","anchor":"p-4850061f4f3174c2-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-4850061f4f3174c2-1","kind":"li","headingPath":["支持证据"],"text":"真从假里发生（馆内参考，未随本文公开）：描述了假排练产生真反应的认识论事件","textSha256":"8d353892b433e69ef60db0911b5b9c1bfd727b5ce74a903ba2091835fbdf5c7f","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-28cd5c6c0c73ab8c-1","anchor":"p-28cd5c6c0c73ab8c-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-28cd5c6c0c73ab8c-1","kind":"li","headingPath":["支持证据"],"text":"出入切 ：描述了进入/退出表演的切换操作","textSha256":"edfedf715433a8bef8f4fb87c255cad1196c8bfa53752004a3c5d1ffe863ff77","links":["https://a.p4theater.top/research/hs-98be0d7fbe3c9ebd"],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-0cc999a096f83229-1","anchor":"p-0cc999a096f83229-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-0cc999a096f83229-1","kind":"li","headingPath":["支持证据"],"text":"表演失效 ：描述了表演\"失败\"时暴露的更原始的东西","textSha256":"196e27da4524161dce51f30a5b41cf01185c71ac914684c551ba945c0e9c2db8","links":["https://a.p4theater.top/research/hs-abdd251e91ce91e6"],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-02bc4831b564db7f-1","anchor":"p-02bc4831b564db7f-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-02bc4831b564db7f-1","kind":"li","headingPath":["支持证据"],"text":"无法扮演的表演 ：描述了某些对象本身的不可被代表性","textSha256":"b14f07b8f51a1643f034c0bea5bed0d05473b1e49aeb44195cc01a5a2006e569","links":["https://a.p4theater.top/research/hs-063888fb063ae69e"],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-4bd919d0475e10e4-1","anchor":"p-4bd919d0475e10e4-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-4bd919d0475e10e4-1","kind":"li","headingPath":["支持证据"],"text":"真实感受门槛 ：描述了观众判断\"这是不是真的\"的心理阈值","textSha256":"a932d9ef7d70fb3991b30e04b385b28783c0ba7eddd9c6ca7840d6bad53223c4","links":["https://a.p4theater.top/research/hs-4b8cecc819669abf"],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-3d22f5aa13e425e3-1","anchor":"p-3d22f5aa13e425e3-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-3d22f5aa13e425e3-1","kind":"li","headingPath":["支持证据"],"text":"感性分配 ：虚构重配改变了感性分配的方式","textSha256":"585bfc0d3e9b10f960323a9a7929b37adecd8aef11316f0cf541232859512b28","links":["https://a.p4theater.top/research/hs-a7e361fcc3ffbd9f"],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-5ba0233805f567bf-1","anchor":"p-5ba0233805f567bf-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-5ba0233805f567bf-1","kind":"h2","headingPath":["反例或限制"],"text":"反例或限制","textSha256":"6ac54dafea6ebacc4a63dfa162261b1266178680e8406e3416e3b7dfb051fe0d","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-b92bf889cdd0d0d5-1","anchor":"p-b92bf889cdd0d0d5-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-b92bf889cdd0d0d5-1","kind":"li","headingPath":["反例或限制"],"text":"虚构重配不等于\"一切都是虚构\" ：朗西埃的理论不是\"一切都是建构的\"这种后现代相对主义。虚构重配预设了一个 先在的真实 ——它不是创造真实，而是 改变真实的感性配置 。","textSha256":"b672e1754ea31c0168be461fc06a1bdfc6a2a9e298baf342f2caa140a8390fa8","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-4d13393a6036bb74-1","anchor":"p-4d13393a6036bb74-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-4d13393a6036bb74-1","kind":"li","headingPath":["反例或限制"],"text":"虚构重配有物质条件 ：不是任何东西都可以被\"重配\"。影片中的重配依赖于具体的物质装置——摄影机、空间、身体、光线、声音。没有这些物质条件，虚构重配无法发生。","textSha256":"775108404e20964f2726604a8fd5c243d9f8eff9b3ac5f7f3ef09c514c2593ca","links":[],"images":[]},{"id":"hs-44a8a1ad443ddae2#p-3cfb0067ef562cb7-1","anchor":"p-3cfb0067ef562cb7-1","url":"https://a.p4theater.top/research/hs-44a8a1ad443ddae2#p-3cfb0067ef562cb7-1","kind":"li","headingPath":["反例或限制"],"text":"重配不保证解放 ：虚构重配可以产生解放效果（让观众发现自己处于被分配的感性秩序中），但也可以产生新的压迫（把\"排练\"变成另一种控制手段）。影片中两者并存。","textSha256":"e14826989baadbfdab9a5267be9e89b720e8f67b779e4aa7206d4e654560e37b","links":[],"images":[]}]}