{"id":"hs-87aedb6f86752543","url":"https://a.p4theater.top/research/hs-87aedb6f86752543","title":"文明不满与反俄狄浦斯逃逸线：人类投降派的不满机器","kind":"research_article","reviewStatus":"selected_research_edition","language":"zh-CN","category":"声画与理论细读","series":"声画与理论细读","sourceVersionDate":"2026-05-26","publishedAt":"2026-09-07","modifiedAt":"2026-09-07T18:27:17+00:00","markdownUrl":"https://a.p4theater.top/research/hs-87aedb6f86752543.md","editionUrl":"https://a.p4theater.top/research/data/editions/hs-87aedb6f86752543-bfa7309f42aac41795e8.md","markdownSha256":"bfa7309f42aac41795e883944c0e06624352bdefe231a32f81a0d5f32500cc32","markdownBytes":16520,"characters":5506,"sourceEvidenceTier":"T3_SYNTHESIS_OVER_T0_T1_T2","sourceStatus":"active","evidenceBoundary":"本页为 T3 理论综合。Freud、Deleuze/Guattari 与疫情背景只提供分析刀口，不替代 T0/T1/T2 证据；不把影片写成疫情总隐喻，不作现实心理诊断，不用反俄狄浦斯取消已经校真的角色、台词、空间和身体事实。","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：2026-09-07；不表示已完成同行评审。","imageUrls":[],"links":["https://a.p4theater.top/research/hs-2f3a595e34c77594","https://a.p4theater.top/research/hs-6ea2345bf8af5dad","https://a.p4theater.top/research/hs-dfa7ff6e3bb2c401","https://a.p4theater.top/research/hs-f8d5adcadacfd794"],"relationMethod":"literal links and image references in the public edition; no inferred semantic support","paragraphCount":95,"markdown":"# 文明不满与反俄狄浦斯逃逸线：人类投降派的不满机器\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：2026-09-07；不表示已完成同行评审。\n\n来源版本日期：2026-05-26\n\n证据边界：本页为 T3 理论综合。Freud、Deleuze/Guattari 与疫情背景只提供分析刀口，不替代 T0/T1/T2 证据；不把影片写成疫情总隐喻，不作现实心理诊断，不用反俄狄浦斯取消已经校真的角色、台词、空间和身体事实。\n\n# 文明不满与反俄狄浦斯逃逸线：人类投降派的不满机器\n\n## 那股一直冒出来的东西\n\n你说“文明与不满”的时候，其实抓住了《人类投降派》里一股很难命名的气。\n\n它不是某个角色单独的坏脾气，也不是某一句台词的意思。它更像一种不肯服帖的压力：否定、不甘、评价、挫败、厌烦、愤怒、对稳定结构的反感，对已经安排好的关系、台词、位置、表演、观看和结尾的不信任。\n\n这股东西总是在片子里冒出来。它有时像一句评价：`演得太差了`。有时像一个人突然跑掉。有时像亲密之后的尴尬追问。有时像第四部分里身体不再愿意被剧本自然安排。有时像 Ricky 从三角形外闯入三角形内。有时像甲瑞赤裸黑线身体和塑料薄膜之间那种过近的危险。有时像白布下的不可见愿望，又被整个现场看得更清楚。\n\n所以我会先把它命名为 [不满机器](/research/hs-2f3a595e34c77594)。\n\n不满不是主题。不满是发动机。\n\n## Freud 的书，到底在讲什么\n\n你说的“文明与不满”，对应 Freud 的 *Civilization and Its Discontents*。中文常见译名有《文明及其不满》《文明及其缺憾》《文明及其不适》。如果要在本库里统一，我建议写《文明及其不满》，因为“不满”这个词刚好能和你现在追的电影能量接上。\n\n这本书最重要的意思很简单，也很残酷：文明不是让人天然幸福的东西。文明为了让人一起生活，必须限制人的欲望、攻击性、性冲动和破坏冲动。人不能想怎样就怎样，人必须等、忍、换一种方式表达、把冲动升华成工作、艺术、道德、制度、家庭、法律和礼貌。\n\n但被压住的东西不会消失。它会回来。\n\n它会变成罪感，变成怨气，变成攻击性，变成对别人的评价，变成对自己的厌弃，变成一种说不清的“不舒服”。文明越需要稳定，人越可能在稳定里感到不满。\n\nFreud 的厉害之处，不是说文明坏，而是说：文明的成功本身就会生产不满。越是建立秩序，越需要压住一些东西；越是压住，越会在某些缝里回潮。\n\n这和《人类投降派》很贴。因为这部电影里最有力量的东西，常常不是混乱本身，而是稳定结构刚刚形成时，它内部突然响起的不愿意。\n\n## 疫情后的封闭，不是主题，而是空气\n\n你补充的疫情背景很重要，但它不能被写得太粗。\n\n不能说《人类投降派》就是“疫情隐喻”。这样会把电影变窄，也会把你说的“边缘信息”写成中心答案。\n\n更准确的是：电影拍摄发生在中国经历三年疫情之后。那种封闭、高压、自由缺失、身体被管理、行动被限制、人与人之间既渴望靠近又被制度隔开的经验，构成了片场空气的一部分。它不一定以剧情形式出现，却会进入演员身体、进入导演冲动、进入等待、进入排练、进入“为什么不能自由地说/走/爱/结束”的感觉里。\n\n这不是背景介绍而已。它让 Freud 的文明不满变得非常具体。\n\n文明不再只是抽象制度，而是健康码、门、锁、场地、后台、报幕、流程、规则、观众、截图、字幕、档案、不能出门的记忆、身体不能随意移动的记忆。人的不满也不再只是心理，而是身体记得一种长期被规定的生活。\n\n所以片中那种不甘，可能不是某个人的个性。它更像一批身体共同带进片场的压强。它不说“我是疫情后的愤怒”，但它会在关系里表现为：\n\n```text\n我不想这样演。\n我不知道怎么演。\n我必须见你。\n你们不明白。\n演得太差了。\n我不想说。\n跳过。\n演过了。\n没必要演。\n谁也看不见你。\n```\n\n这些句子不是同一种意思，但它们共享一种力：它们都在对一个正在形成的结构说“不”。\n\n## `演得太差了`：不满披上评价的外衣\n\n在前面的精神分析里，我们已经把 `演得太差了` 读成婴儿导演切断亲密的动作。现在可以再推进一步：这句话也是文明不满的一个小型爆口。\n\n它表面上是评价表演。底下更像一种无法承认的愤怒：\n\n```text\n你们不能这样闭合。\n你们不能这样自然。\n你们不能在没有我的地方完成关系。\n你们不能让我只是看着。\n```\n\n可是这股愤怒不能直接说成嫉妒，不能直接说成痛苦，不能直接说成我受不了。于是它借用一个文明位置：评价。\n\n评价是很文明的。评价听起来合理，像审美，像工作，像导演职责，像排练秩序。可是评价也可能是最方便的攻击形式。它让一个人不用承认自己的痛，就可以切断别人的亲密。\n\n这就是 [不满机器](/research/hs-2f3a595e34c77594) 和 [判定机器](/research/hs-f8d5adcadacfd794) 的交叉点：\n\n```text\n不满提供能量。\n判定提供形式。\n\n愤怒不能裸露，于是变成评价。\n嫉妒不能承认，于是变成表演标准。\n关系不能忍受，于是被改名为“演得差”。\n```\n\n电影里可怕的不是有人评价，而是评价总能找到正当理由。正当理由越顺滑，不满就越容易藏进去。\n\n## 从俄狄浦斯到反俄狄浦斯：不是取消家庭，而是让家庭漏电\n\n你前面提出第一幕可能是母亲、父亲、孩子的位置：阿蒙作为妈妈位置，甲瑞作为爸爸位置，子丑/导演作为孩子。这个读法仍然有效。\n\n但《反俄狄浦斯》提醒我们：不能把所有欲望都关回家庭三角。家庭不是欲望的最终真相，家庭常常是社会机器把欲望重新驯化、重新命名、重新收窄的方式。\n\n所以现在更准确的读法是：\n\n```text\n《人类投降派》确实不断生产母位、父位、子位、同胞位。\n但这些位置不是终点。\n它们只是欲望暂时结成的疆域。\n电影更深的动作，是让这些疆域不断漏电、换人、破边、逃逸。\n```\n\n开场的母父子结构不是要我们永远说“谁是母亲、谁是父亲、谁是孩子”。它是第一块地形。电影先把人放进这些位置，再让位置不稳。\n\n甲瑞像父亲，但很快也像孩子。他要求进入、要求被看见、要求回执。阿蒙像母亲，但她也会逃、会问烟、会拒绝总捕获、会被公开观看。子丑像孩子，但他也会评价、命名、跳过、试图结束。Ricky 像同胞闯入者，但他也会操控捕获母位，又会在预告片里发出身体崩溃的声音。何发像最后报幕的父位，但第五、第六部分证明他也不能让事件完全停止。\n\n这就是反俄狄浦斯的入口：不是说没有父亲母亲孩子，而是每个位置都只是一种暂时接线。接线一旦通电，就可能烧穿。\n\n## 欲望不是缺失，而是乱接线\n\n如果从 Freud 看，人物像在寻找失去的对象：母亲、父亲、爱、回执、月亮、眼睛、不可见、安全。\n\n如果从 Deleuze/Guattari 看，重点就变了。欲望不是因为缺少一个对象才开始行动；欲望本身就在不断生产连接。\n\n《人类投降派》的欲望不只是“我想要你”。它更像：\n\n```text\n我想把门接到月球。\n我想把烟接到镜头后。\n我想把吻接到评价。\n我想把眼睛接到证明。\n我想把不想说接到代说。\n我想把观众接到演区。\n我想把白布接到不可见。\n我想把后台配乐接到第四部分残余。\n我想把片尾名单接到所有说不完的人。\n```\n\n这些接线并不健康，也不一定自由。它们有时很危险、很痛苦、很荒谬。但它们说明这部电影不是在静态表达创伤，而是在不停制造新的机器。\n\n这就是它和普通心理戏的区别。普通心理戏会问：人物到底缺什么？《人类投降派》更像在问：当缺、痛、不满、嫉妒、封闭、愤怒都不能被说清楚时，它们会接到哪些物、哪些人、哪些声音、哪些空间上继续运行？\n\n## 解域、结域、再结域：电影如何一边逃跑一边被抓回\n\nDeleuze/Guattari 的“解域 / 结域 / 再结域”可以很具体地读这部电影。\n\n结域，就是位置暂时稳定。比如开场固定方位、第一幕母父子结构、第二部分剧本排练、第四部分三角形演区、片尾名单。\n\n解域，就是这些位置松开。比如人物跑掉，戏里戏外混在一起，摄影机突然变成第一人称，台词变成生活问句，Ricky 从观众区进入演区，白布让脸消失，后台声场从正面表演撤走。\n\n再结域，就是松开的东西又被新的制度固定。比如数字 `0/1/2/3/4/5`，报幕，字幕，角色锁，T0 裁决，Wiki 页面，`p4 theater` logo。\n\n全片几乎就是这一组三拍：\n\n```text\n位置形成\n-> 位置逃逸\n-> 位置被重新记录\n```\n\n第一部分用旋转方位结域。第二部分用长镜头让剧本、生活和摄影机背面解域。第三部分用水、眼睛、证明和捕获游戏把感官继续解域。第四部分把所有逃逸拿到观众面前公开推演，又用三角形、规则、表演法庭、白布和后台裂口不断再结域。第五部分把台前残余转入后台声场。第六部分用名单和 `p4 theater` 把逃逸过的东西冷却成档案。\n\n但这里最美的地方是：再结域从来不彻底。每一次归档都会漏一点声音。每一次命名都会剩一点不满。\n\n## 第四部分：不满公开化\n\n第四部分之所以那么重要，是因为前三部分的不满终于不能再只在私密关系、排练、床、树林、水和眼睛里流动。它被公开放到观众面前。\n\n数字 `3` 之后，电影像是把所有压着的东西摆出来：黄蒙/阿蒙的白色身体和蓝眼图案，子丑的黄点脸和发呆，甲瑞从黑衣作画链走向赤裸黑线身体，Ricky 从外部规则位进入三角形内，塑料薄膜把接触变成危险材料，白布把不可见变成画面中心，何发、入梦、赵子毅又在后台裂口里露出现场技术条件。\n\n这里的不满不再只是“我不开心”。它变成一套公开推演：\n\n```text\n如果你不想说，现场会怎样继续？\n如果你发呆，大家看什么？\n如果你演得差，谁有资格上来替你？\n如果观众区进入演区，演出还算演出吗？\n如果白布让你看不见，观看真的停止了吗？\n如果报幕说结束，声音真的服从结束吗？\n```\n\n第四部分不是把不满解决掉，而是让不满取得组织权。它逼出一个又一个行动，而这些行动并不来自既定剧本。它们是冲撞、碰撞、错配、误入、顶替、停顿、跳过、帮说、遮挡和漏声。\n\n这就是你说的“残酷推演”。第一部分的长镜头像原初结构的出生。第二部分的长镜头像排练机器学会出入转化。第三部分把感官和证明推到水、眼睛和捕获游戏里。第四部分则不再给人物一个自然、放松、私密地面对关系的空间。它把关系放到公开倒计时里：必须结束，必须回地球，必须面对戏结束之后关系也要被切断的痛。\n\n不满在这里不是失败。它是现场继续运转的燃料。\n\n## 反俄狄浦斯不是把痛写轻，而是让痛找到出口\n\n这里要防一个误读。用 Deleuze/Guattari，不是为了把 Freud 的痛苦分析变得轻松，好像只要说“逃逸线”就自由了。\n\n《人类投降派》里的逃逸线常常很痛。\n\n从剧本里跑出来，可能只是进入更尴尬的真实。  \n从观众区进入演区，可能不是解放，而是让围打和顶替成形。  \n白布遮住脸，可能不是保护，而是制造更强的可见性。  \n后台声场接走台前，可能不是治愈，而是让残余换一种方式继续。  \n片尾归档，可能不是结案，而是把不能解决的东西冷却保存。\n\n所以反俄狄浦斯在这里不是欢呼“逃出去”。它更像一种方法：不要把所有东西关回家庭、父亲、母亲、孩子、缺失、创伤的盒子里。要看这些位置怎样被社会压力、疫情后的封闭感、剧场制度、摄影机、观众、材料、音乐、字幕和档案共同生产。\n\n精神分裂式姿态也不是医学意义上的“分裂”。它是一种分析姿态：允许电影不只有一个中心，允许一个身体同时接好几条线，允许一个声音既是照顾又是程序，允许一个评价既是审美又是嫉妒，允许一个后台既是撤退又是继续。\n\n## 重新面对未来\n\n你说 Deleuze/Guattari 是在解放我们，让我们用精神分裂式姿态重新面对未来。放到《人类投降派》里，这句话可以写得很朴素：\n\n未来不是一个干净的新开始。\n\n未来可能是这些已经被压过、演过、评过、吻过、抓过、遮过、录过、归档过的东西，还能不能再重新接线。\n\n这部电影没有给人物一个大团圆，也没有给观众一个清楚解释。它更像把一堆不满保存下来：文明的不满、关系的不满、表演的不满、疫情后身体的不满、孩子看见亲密的不满、观众无法只旁观的不满、导演无法只导演的不满、档案无法真正收束的不满。\n\n但保存不满不等于沉溺不满。它也可能是一种未来的入口。\n\n因为只有当不满不再被当成坏情绪清除，它才可能变成思想。只有当评价不再被当成纯标准，它才露出背后的嫉妒、痛和权力。只有当家庭位置不再被当成终极解释，它们才开始移动。只有当疫情后的封闭感不被说成单一主题，它才作为空气进入身体、声音和空间。\n\n所以《人类投降派》的未来感不是科幻式的。它不是月球，也不是门后的天堂。它更像一种很艰难的重新接线能力：\n\n```text\n已经被文明压过的身体，还能不能重新感觉？\n已经被剧本规定的关系，还能不能跑出一点东西？\n已经被评价切断的亲密，还能不能留下热度？\n已经被公开观看的痛苦，还能不能不被占有？\n已经被归档的现场，还能不能继续生成概念？\n```\n\n这就是不满机器最值得保留的地方。它不保证自由，但它拒绝让封闭成为最后事实。它不是说“我们已经逃出来了”，而是说：哪怕每一次逃逸都会被重新记录，逃逸仍然发生过；哪怕每一次不满都会被制度重新命名，不满仍然咬开过一个洞。\n\n## 不能越界\n\n- 不把《人类投降派》写成“疫情电影”或“疫情隐喻”的单一解释。\n- 不把“不满机器”写成现实人物心理诊断、真实动机裁决或临床描述。\n- 不用 Deleuze/Guattari 取消 Freud/俄狄浦斯读法；两者应形成张力：Freud 读压抑和不满，Deleuze/Guattari 读欲望如何继续生产连接。\n- 不让 T3 理论覆盖 T0/T1 的角色锁、时间码、台词归属、空间动线和身体事实。\n- 不把“逃逸线”浪漫化为自由；本片中的逃逸常常伴随危险、公开、材料压力、误认和再归档。\n\n## 下一轮可挖\n\n- 逐条追踪 `演得太差了` 和类似评价语气，建立“评价/不满声源表”。\n- 把疫情后三年封闭高压背景作为边缘压力场，回扫门、锁、后台、流程、无法自由退场、不能自然结束等节点。\n- 对第四部分做“不满行动链”复扫：哪些行动不是剧本安排，而是不满被现场逼出的行动？\n- 继续处理 Freud 与 Deleuze/Guattari 的理论张力：压抑如何生产不满，不满又如何脱离家庭框架成为欲望生产。\n\n## 相关页面\n\n- [不满机器正反合第一轮-从文明压抑到逃逸生产](/research/hs-6ea2345bf8af5dad)\n- [零号稳定与超文明不满-人类投降派的0号压力场](/research/hs-dfa7ff6e3bb2c401)\n- 零号稳定片内三锚点回扫-开场0恐惧清单与结束困难（馆内参考，未随本文公开）","paragraphs":[{"id":"hs-87aedb6f86752543#p-3a80407accfa2fe9-1","anchor":"p-3a80407accfa2fe9-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-3a80407accfa2fe9-1","kind":"h2","headingPath":["文明不满与反俄狄浦斯逃逸线：人类投降派的不满机器"],"text":"文明不满与反俄狄浦斯逃逸线：人类投降派的不满机器","textSha256":"57300cc82b2d44630d65bdabe8f5a47881598ba83ae3588129dc7c3e66214027","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-dfec60cee7b9703c-1","anchor":"p-dfec60cee7b9703c-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-dfec60cee7b9703c-1","kind":"h2","headingPath":["那股一直冒出来的东西"],"text":"那股一直冒出来的东西","textSha256":"732572f11e8a3f52b53afd0a39b19f601be333b144a9fd209d626c9b98b48e77","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-36366149adad53b6-1","anchor":"p-36366149adad53b6-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-36366149adad53b6-1","kind":"p","headingPath":["那股一直冒出来的东西"],"text":"你说“文明与不满”的时候，其实抓住了《人类投降派》里一股很难命名的气。","textSha256":"d1c101d04d3f6cef5cd41ecceef72b8b6f828229f7dac788ff8ceb8486d09652","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-3bbeda0541d15038-1","anchor":"p-3bbeda0541d15038-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-3bbeda0541d15038-1","kind":"p","headingPath":["那股一直冒出来的东西"],"text":"它不是某个角色单独的坏脾气，也不是某一句台词的意思。它更像一种不肯服帖的压力：否定、不甘、评价、挫败、厌烦、愤怒、对稳定结构的反感，对已经安排好的关系、台词、位置、表演、观看和结尾的不信任。","textSha256":"a0b23cd790258ff11e4d9ee4c3835486fcb32181eac42ddf205d00b48ea3c019","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-1e7a838d452adc6e-1","anchor":"p-1e7a838d452adc6e-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-1e7a838d452adc6e-1","kind":"p","headingPath":["那股一直冒出来的东西"],"text":"这股东西总是在片子里冒出来。它有时像一句评价： 演得太差了 。有时像一个人突然跑掉。有时像亲密之后的尴尬追问。有时像第四部分里身体不再愿意被剧本自然安排。有时像 Ricky 从三角形外闯入三角形内。有时像甲瑞赤裸黑线身体和塑料薄膜之间那种过近的危险。有时像白布下的不可见愿望，又被整个现场看得更清楚。","textSha256":"0c76b77a2291b3b79521dfb42f55c64862b9533036e53c17e76b9c86305aecd0","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-465146c49d131747-1","anchor":"p-465146c49d131747-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-465146c49d131747-1","kind":"p","headingPath":["那股一直冒出来的东西"],"text":"所以我会先把它命名为 不满机器 。","textSha256":"c79cc1c7c5f00ed63bf44fedbb08115d30b1dec9af1a3e321be283c90dc6941e","links":["https://a.p4theater.top/research/hs-2f3a595e34c77594"],"images":[]},{"id":"hs-87aedb6f86752543#p-436363b851c6d98e-1","anchor":"p-436363b851c6d98e-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-436363b851c6d98e-1","kind":"p","headingPath":["那股一直冒出来的东西"],"text":"不满不是主题。不满是发动机。","textSha256":"0eeeadcb81efde9a670f4403df2647d851287e8dfd8f7d571adb500f42a4bc58","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-27a1eacf5a5071fe-1","anchor":"p-27a1eacf5a5071fe-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-27a1eacf5a5071fe-1","kind":"h2","headingPath":["Freud 的书，到底在讲什么"],"text":"Freud 的书，到底在讲什么","textSha256":"79a68e110c3335b839bfd8f0a69eb444e7dc57070b166a94e7f33e44e59e887f","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-8689a666297d2ddc-1","anchor":"p-8689a666297d2ddc-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-8689a666297d2ddc-1","kind":"p","headingPath":["Freud 的书，到底在讲什么"],"text":"你说的“文明与不满”，对应 Freud 的 Civilization and Its Discontents 。中文常见译名有《文明及其不满》《文明及其缺憾》《文明及其不适》。如果要在本库里统一，我建议写《文明及其不满》，因为“不满”这个词刚好能和你现在追的电影能量接上。","textSha256":"33d307394b0b8c242d678d34f6418a9f4d515f2b8153fe8abb1c6503f4eaaf34","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-d630d665830599af-1","anchor":"p-d630d665830599af-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-d630d665830599af-1","kind":"p","headingPath":["Freud 的书，到底在讲什么"],"text":"这本书最重要的意思很简单，也很残酷：文明不是让人天然幸福的东西。文明为了让人一起生活，必须限制人的欲望、攻击性、性冲动和破坏冲动。人不能想怎样就怎样，人必须等、忍、换一种方式表达、把冲动升华成工作、艺术、道德、制度、家庭、法律和礼貌。","textSha256":"c99daeb1e2dfec403bbcfc04e28823f3642b72cf53e1269313f2b8a808997a72","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-89fa15c48e410a5a-1","anchor":"p-89fa15c48e410a5a-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-89fa15c48e410a5a-1","kind":"p","headingPath":["Freud 的书，到底在讲什么"],"text":"但被压住的东西不会消失。它会回来。","textSha256":"ddf91ff7ceb247c679a6107cb4019b612e6247d9521ddfe3f8f570d219c16374","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-1bd7a355f1c87209-1","anchor":"p-1bd7a355f1c87209-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-1bd7a355f1c87209-1","kind":"p","headingPath":["Freud 的书，到底在讲什么"],"text":"它会变成罪感，变成怨气，变成攻击性，变成对别人的评价，变成对自己的厌弃，变成一种说不清的“不舒服”。文明越需要稳定，人越可能在稳定里感到不满。","textSha256":"80274f8df8930b84d89b94fb4d858a762fe716d9db7c3b8fb1c8197bc67a0fa3","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-0e77307ebb2e06c2-1","anchor":"p-0e77307ebb2e06c2-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-0e77307ebb2e06c2-1","kind":"p","headingPath":["Freud 的书，到底在讲什么"],"text":"Freud 的厉害之处，不是说文明坏，而是说：文明的成功本身就会生产不满。越是建立秩序，越需要压住一些东西；越是压住，越会在某些缝里回潮。","textSha256":"ac4449850d55483ece73b41bbfd009154aa7a902ff578871ba95fc8017ebfcde","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-b3660b58973a2bb9-1","anchor":"p-b3660b58973a2bb9-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-b3660b58973a2bb9-1","kind":"p","headingPath":["Freud 的书，到底在讲什么"],"text":"这和《人类投降派》很贴。因为这部电影里最有力量的东西，常常不是混乱本身，而是稳定结构刚刚形成时，它内部突然响起的不愿意。","textSha256":"0ace739a0814eeed8cd9f8824ed16bc37ffcd8ebcb0ee7a84454475d8452731a","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-c81d4b231f5d5bbf-1","anchor":"p-c81d4b231f5d5bbf-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-c81d4b231f5d5bbf-1","kind":"h2","headingPath":["疫情后的封闭，不是主题，而是空气"],"text":"疫情后的封闭，不是主题，而是空气","textSha256":"c4ac0cf1cb0bc47c7b71f46e4562fda69b6bab8626fd2206a9c281dde57b999f","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-98ce4375b6d51f48-1","anchor":"p-98ce4375b6d51f48-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-98ce4375b6d51f48-1","kind":"p","headingPath":["疫情后的封闭，不是主题，而是空气"],"text":"你补充的疫情背景很重要，但它不能被写得太粗。","textSha256":"b204bd885bac6aab439d8e62282332d006572ea3da0d23db3d95402db73ea43c","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-081252a7c2f73cb8-1","anchor":"p-081252a7c2f73cb8-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-081252a7c2f73cb8-1","kind":"p","headingPath":["疫情后的封闭，不是主题，而是空气"],"text":"不能说《人类投降派》就是“疫情隐喻”。这样会把电影变窄，也会把你说的“边缘信息”写成中心答案。","textSha256":"9a9f616195448a1f193023f761f432138fef1cabdaa8e70fe07fc5286f2f699d","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-49ea49c03b213538-1","anchor":"p-49ea49c03b213538-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-49ea49c03b213538-1","kind":"p","headingPath":["疫情后的封闭，不是主题，而是空气"],"text":"更准确的是：电影拍摄发生在中国经历三年疫情之后。那种封闭、高压、自由缺失、身体被管理、行动被限制、人与人之间既渴望靠近又被制度隔开的经验，构成了片场空气的一部分。它不一定以剧情形式出现，却会进入演员身体、进入导演冲动、进入等待、进入排练、进入“为什么不能自由地说/走/爱/结束”的感觉里。","textSha256":"e10ce7082830feb1a8e97921db3d8339dfe2ec87acf203df5a5a9080be64b407","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-7da91122667f8a9e-1","anchor":"p-7da91122667f8a9e-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-7da91122667f8a9e-1","kind":"p","headingPath":["疫情后的封闭，不是主题，而是空气"],"text":"这不是背景介绍而已。它让 Freud 的文明不满变得非常具体。","textSha256":"a8271db4409e5a4386d06f6e921250b262bff0d3c36e75127ff7225b46544a77","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-4d53c5ba4327e978-1","anchor":"p-4d53c5ba4327e978-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-4d53c5ba4327e978-1","kind":"p","headingPath":["疫情后的封闭，不是主题，而是空气"],"text":"文明不再只是抽象制度，而是健康码、门、锁、场地、后台、报幕、流程、规则、观众、截图、字幕、档案、不能出门的记忆、身体不能随意移动的记忆。人的不满也不再只是心理，而是身体记得一种长期被规定的生活。","textSha256":"921d0bfe0890bd9d1adfe3cb8714baa48010c1fc3196146644333cbf2b5179a2","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-81a5febf4d43bdab-1","anchor":"p-81a5febf4d43bdab-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-81a5febf4d43bdab-1","kind":"p","headingPath":["疫情后的封闭，不是主题，而是空气"],"text":"所以片中那种不甘，可能不是某个人的个性。它更像一批身体共同带进片场的压强。它不说“我是疫情后的愤怒”，但它会在关系里表现为：","textSha256":"b4957f0f5ac938b81ec9699914a4e211a7b1e13defd0e25783909e7ee1a15fe3","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-4225a36425ca1a6e-1","anchor":"p-4225a36425ca1a6e-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-4225a36425ca1a6e-1","kind":"pre","headingPath":["疫情后的封闭，不是主题，而是空气"],"text":"我不想这样演。\n我不知道怎么演。\n我必须见你。\n你们不明白。\n演得太差了。\n我不想说。\n跳过。\n演过了。\n没必要演。\n谁也看不见你。","textSha256":"9f30a6d6c3087305175d68cf548d26efcca5baa362cfb9650b5287d617dcd548","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-93c0b9065b0f60f9-1","anchor":"p-93c0b9065b0f60f9-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-93c0b9065b0f60f9-1","kind":"p","headingPath":["疫情后的封闭，不是主题，而是空气"],"text":"这些句子不是同一种意思，但它们共享一种力：它们都在对一个正在形成的结构说“不”。","textSha256":"87afe158e123d05f18f8acc309e28e408fd557dc826a6cbb545ea8766e7c8483","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-6141279a0e53a83e-1","anchor":"p-6141279a0e53a83e-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-6141279a0e53a83e-1","kind":"h2","headingPath":["演得太差了 ：不满披上评价的外衣"],"text":"演得太差了 ：不满披上评价的外衣","textSha256":"b6c27c9b000d80db335bf91497f6964fd722d0252b7048135107124fb3342849","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-49a86efdaf6ab19d-1","anchor":"p-49a86efdaf6ab19d-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-49a86efdaf6ab19d-1","kind":"p","headingPath":["演得太差了 ：不满披上评价的外衣"],"text":"在前面的精神分析里，我们已经把 演得太差了 读成婴儿导演切断亲密的动作。现在可以再推进一步：这句话也是文明不满的一个小型爆口。","textSha256":"82263a7c42af15f070ef8b925c503b2118c0d2b9dd6475e2a2d874e26b23ca58","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-a7347f245e1784d8-1","anchor":"p-a7347f245e1784d8-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-a7347f245e1784d8-1","kind":"p","headingPath":["演得太差了 ：不满披上评价的外衣"],"text":"它表面上是评价表演。底下更像一种无法承认的愤怒：","textSha256":"2aa5839d82b8f04a31685c7aed18321cc3b2acaeca721d4b2bf5bb679385547f","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-479c2d1cd03aedeb-1","anchor":"p-479c2d1cd03aedeb-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-479c2d1cd03aedeb-1","kind":"pre","headingPath":["演得太差了 ：不满披上评价的外衣"],"text":"你们不能这样闭合。\n你们不能这样自然。\n你们不能在没有我的地方完成关系。\n你们不能让我只是看着。","textSha256":"c9fd291a3bd89be59e8a1de6c577b0ea5bf5aabe829d28ecf51a28f5480a9e0e","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-bd6ba155eb870c3b-1","anchor":"p-bd6ba155eb870c3b-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-bd6ba155eb870c3b-1","kind":"p","headingPath":["演得太差了 ：不满披上评价的外衣"],"text":"可是这股愤怒不能直接说成嫉妒，不能直接说成痛苦，不能直接说成我受不了。于是它借用一个文明位置：评价。","textSha256":"48ad8563b5c7a2c0f99e15180001ed9813c767aad1097f70d88dfcc7f0456b22","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-cfd4276a5ce08d6b-1","anchor":"p-cfd4276a5ce08d6b-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-cfd4276a5ce08d6b-1","kind":"p","headingPath":["演得太差了 ：不满披上评价的外衣"],"text":"评价是很文明的。评价听起来合理，像审美，像工作，像导演职责，像排练秩序。可是评价也可能是最方便的攻击形式。它让一个人不用承认自己的痛，就可以切断别人的亲密。","textSha256":"dd624ec637f750af5222c00190b654158a56ef173afc2838186fc7ce4c44dc2b","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-596ac7d45fc6b0b9-1","anchor":"p-596ac7d45fc6b0b9-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-596ac7d45fc6b0b9-1","kind":"p","headingPath":["演得太差了 ：不满披上评价的外衣"],"text":"这就是 不满机器 和 判定机器 的交叉点：","textSha256":"5eb7a327a48be6a5d2131172447df1e88e95de3906ed71f647c978555afaaefe","links":["https://a.p4theater.top/research/hs-2f3a595e34c77594","https://a.p4theater.top/research/hs-f8d5adcadacfd794"],"images":[]},{"id":"hs-87aedb6f86752543#p-4016c2f937295d82-1","anchor":"p-4016c2f937295d82-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-4016c2f937295d82-1","kind":"pre","headingPath":["演得太差了 ：不满披上评价的外衣"],"text":"不满提供能量。\n判定提供形式。\n\n愤怒不能裸露，于是变成评价。\n嫉妒不能承认，于是变成表演标准。\n关系不能忍受，于是被改名为“演得差”。","textSha256":"da9f78a2b6009f45221a59ebb632db2a585c28a660eb5f34c2fc719393558cb6","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-356286d64544caf6-1","anchor":"p-356286d64544caf6-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-356286d64544caf6-1","kind":"p","headingPath":["演得太差了 ：不满披上评价的外衣"],"text":"电影里可怕的不是有人评价，而是评价总能找到正当理由。正当理由越顺滑，不满就越容易藏进去。","textSha256":"f877344c6a66924a9b2e5ae27a1953b8c1b17b6bbf162d3ab33992aa5134a59c","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-a05424e4e3f54393-1","anchor":"p-a05424e4e3f54393-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-a05424e4e3f54393-1","kind":"h2","headingPath":["从俄狄浦斯到反俄狄浦斯：不是取消家庭，而是让家庭漏电"],"text":"从俄狄浦斯到反俄狄浦斯：不是取消家庭，而是让家庭漏电","textSha256":"6fe88e5951ad87ed27dc05a5f3e79df95b7b811d0ae800ad481d2eff02113392","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-05442556f2ad292b-1","anchor":"p-05442556f2ad292b-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-05442556f2ad292b-1","kind":"p","headingPath":["从俄狄浦斯到反俄狄浦斯：不是取消家庭，而是让家庭漏电"],"text":"你前面提出第一幕可能是母亲、父亲、孩子的位置：阿蒙作为妈妈位置，甲瑞作为爸爸位置，子丑/导演作为孩子。这个读法仍然有效。","textSha256":"663ff11da23b8bd23d182801e6ca7b57888ec5964045f5cd832a7f774720edc9","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-2811e77e62850309-1","anchor":"p-2811e77e62850309-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-2811e77e62850309-1","kind":"p","headingPath":["从俄狄浦斯到反俄狄浦斯：不是取消家庭，而是让家庭漏电"],"text":"但《反俄狄浦斯》提醒我们：不能把所有欲望都关回家庭三角。家庭不是欲望的最终真相，家庭常常是社会机器把欲望重新驯化、重新命名、重新收窄的方式。","textSha256":"25ae89bb3bd687bfca3dfb5c666fe8265c07e323307393d1737ed043a2fdbcd2","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-204f465af287475c-1","anchor":"p-204f465af287475c-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-204f465af287475c-1","kind":"p","headingPath":["从俄狄浦斯到反俄狄浦斯：不是取消家庭，而是让家庭漏电"],"text":"所以现在更准确的读法是：","textSha256":"a7482cf34a1313fbb3022017e3fcf221deea2d3b32583fa04f10924be56d2d91","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-63812283cfb9cdcf-1","anchor":"p-63812283cfb9cdcf-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-63812283cfb9cdcf-1","kind":"pre","headingPath":["从俄狄浦斯到反俄狄浦斯：不是取消家庭，而是让家庭漏电"],"text":"《人类投降派》确实不断生产母位、父位、子位、同胞位。\n但这些位置不是终点。\n它们只是欲望暂时结成的疆域。\n电影更深的动作，是让这些疆域不断漏电、换人、破边、逃逸。","textSha256":"14a2554db47ae6a00280fef9171e3753d389c420b4d9f2d09ec2e4f572849682","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-275124a462cfac79-1","anchor":"p-275124a462cfac79-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-275124a462cfac79-1","kind":"p","headingPath":["从俄狄浦斯到反俄狄浦斯：不是取消家庭，而是让家庭漏电"],"text":"开场的母父子结构不是要我们永远说“谁是母亲、谁是父亲、谁是孩子”。它是第一块地形。电影先把人放进这些位置，再让位置不稳。","textSha256":"538cf25d9221410d9728afac3dbd0c0007e5433f5405b6bda772153c116ba9c9","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-ecb237911add4d08-1","anchor":"p-ecb237911add4d08-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-ecb237911add4d08-1","kind":"p","headingPath":["从俄狄浦斯到反俄狄浦斯：不是取消家庭，而是让家庭漏电"],"text":"甲瑞像父亲，但很快也像孩子。他要求进入、要求被看见、要求回执。阿蒙像母亲，但她也会逃、会问烟、会拒绝总捕获、会被公开观看。子丑像孩子，但他也会评价、命名、跳过、试图结束。Ricky 像同胞闯入者，但他也会操控捕获母位，又会在预告片里发出身体崩溃的声音。何发像最后报幕的父位，但第五、第六部分证明他也不能让事件完全停止。","textSha256":"5092e02a5d195ec4b4a323f25d6a4a2a93773e2e6964ecbab4121700d7019083","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-e3e5c02da796e07b-1","anchor":"p-e3e5c02da796e07b-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-e3e5c02da796e07b-1","kind":"p","headingPath":["从俄狄浦斯到反俄狄浦斯：不是取消家庭，而是让家庭漏电"],"text":"这就是反俄狄浦斯的入口：不是说没有父亲母亲孩子，而是每个位置都只是一种暂时接线。接线一旦通电，就可能烧穿。","textSha256":"52ca507ea111757cbd06cc5ed2f310cd4f1847b65ca2d6dca2d271736be8b220","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-2444c5729830f3f4-1","anchor":"p-2444c5729830f3f4-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-2444c5729830f3f4-1","kind":"h2","headingPath":["欲望不是缺失，而是乱接线"],"text":"欲望不是缺失，而是乱接线","textSha256":"dc3b695a7951588a03928968602d8dd920a7428459ba2eb58ff93d0048456dc9","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-b91b7b66db757261-1","anchor":"p-b91b7b66db757261-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-b91b7b66db757261-1","kind":"p","headingPath":["欲望不是缺失，而是乱接线"],"text":"如果从 Freud 看，人物像在寻找失去的对象：母亲、父亲、爱、回执、月亮、眼睛、不可见、安全。","textSha256":"ff25885466992ac1b0c10373f9d05370c66d31ba66ec539dc835c1ce7d89a498","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-30c541675eccf0a8-1","anchor":"p-30c541675eccf0a8-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-30c541675eccf0a8-1","kind":"p","headingPath":["欲望不是缺失，而是乱接线"],"text":"如果从 Deleuze/Guattari 看，重点就变了。欲望不是因为缺少一个对象才开始行动；欲望本身就在不断生产连接。","textSha256":"64e30a24ef21074fb1bfc8ca39a20dd0f25635d554ceca38b1d994e284533c82","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-679bf5c5d89ba801-1","anchor":"p-679bf5c5d89ba801-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-679bf5c5d89ba801-1","kind":"p","headingPath":["欲望不是缺失，而是乱接线"],"text":"《人类投降派》的欲望不只是“我想要你”。它更像：","textSha256":"4e0555d8c2f2f0b0bc8f014a4cd8970f4ddd85e31287fdc688f97f406eb09648","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-56b5b547161eb553-1","anchor":"p-56b5b547161eb553-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-56b5b547161eb553-1","kind":"pre","headingPath":["欲望不是缺失，而是乱接线"],"text":"我想把门接到月球。\n我想把烟接到镜头后。\n我想把吻接到评价。\n我想把眼睛接到证明。\n我想把不想说接到代说。\n我想把观众接到演区。\n我想把白布接到不可见。\n我想把后台配乐接到第四部分残余。\n我想把片尾名单接到所有说不完的人。","textSha256":"8b28439722f85bd16e2ac424fc0ee86cef61ca6644b5860219249eb7d858e1d6","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-c26eb12a59ec5b51-1","anchor":"p-c26eb12a59ec5b51-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-c26eb12a59ec5b51-1","kind":"p","headingPath":["欲望不是缺失，而是乱接线"],"text":"这些接线并不健康，也不一定自由。它们有时很危险、很痛苦、很荒谬。但它们说明这部电影不是在静态表达创伤，而是在不停制造新的机器。","textSha256":"2c23fd2afbf113836e600360af9630eacca9eaf7d2a89d38f17b4919d36740a1","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-190a01ab6794dc54-1","anchor":"p-190a01ab6794dc54-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-190a01ab6794dc54-1","kind":"p","headingPath":["欲望不是缺失，而是乱接线"],"text":"这就是它和普通心理戏的区别。普通心理戏会问：人物到底缺什么？《人类投降派》更像在问：当缺、痛、不满、嫉妒、封闭、愤怒都不能被说清楚时，它们会接到哪些物、哪些人、哪些声音、哪些空间上继续运行？","textSha256":"c159509f764a867a468710f762d302da2bf233abacbb397364affa8308af07da","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-7125ab035657e8c9-1","anchor":"p-7125ab035657e8c9-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-7125ab035657e8c9-1","kind":"h2","headingPath":["解域、结域、再结域：电影如何一边逃跑一边被抓回"],"text":"解域、结域、再结域：电影如何一边逃跑一边被抓回","textSha256":"3c754ff6975cb8e561ff4b912ece50f39e8189c53918620962f664fc123396e0","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-04c5c011cbcd9c15-1","anchor":"p-04c5c011cbcd9c15-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-04c5c011cbcd9c15-1","kind":"p","headingPath":["解域、结域、再结域：电影如何一边逃跑一边被抓回"],"text":"Deleuze/Guattari 的“解域 / 结域 / 再结域”可以很具体地读这部电影。","textSha256":"2cf62f59af04565bf76c09901da043cf1ef8e9e2a13f2e5b9601fdc55e1a0c71","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-de5da2c336137962-1","anchor":"p-de5da2c336137962-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-de5da2c336137962-1","kind":"p","headingPath":["解域、结域、再结域：电影如何一边逃跑一边被抓回"],"text":"结域，就是位置暂时稳定。比如开场固定方位、第一幕母父子结构、第二部分剧本排练、第四部分三角形演区、片尾名单。","textSha256":"3bcd6c4dddb34c822495541554f5473f3d2d6573d97bff8a82e09421e698236f","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-887b5fa22741bb26-1","anchor":"p-887b5fa22741bb26-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-887b5fa22741bb26-1","kind":"p","headingPath":["解域、结域、再结域：电影如何一边逃跑一边被抓回"],"text":"解域，就是这些位置松开。比如人物跑掉，戏里戏外混在一起，摄影机突然变成第一人称，台词变成生活问句，Ricky 从观众区进入演区，白布让脸消失，后台声场从正面表演撤走。","textSha256":"c226e4d9f42efd719f6765d164aa157462a613a66f0495a8621afad4cd2a5578","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-b288537c9456db55-1","anchor":"p-b288537c9456db55-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-b288537c9456db55-1","kind":"p","headingPath":["解域、结域、再结域：电影如何一边逃跑一边被抓回"],"text":"再结域，就是松开的东西又被新的制度固定。比如数字 0/1/2/3/4/5 ，报幕，字幕，角色锁，T0 裁决，Wiki 页面， p4 theater logo。","textSha256":"0cf37c7191b08ec905698b70a66a141afad5976c55b38f7f46e67122069c5f2b","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-f51bc86036d0e183-1","anchor":"p-f51bc86036d0e183-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-f51bc86036d0e183-1","kind":"p","headingPath":["解域、结域、再结域：电影如何一边逃跑一边被抓回"],"text":"全片几乎就是这一组三拍：","textSha256":"41208b6afa1335344430dccc05359a05474ff790f7041d2b522d11a8b3745858","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-09fa356ec5efe884-1","anchor":"p-09fa356ec5efe884-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-09fa356ec5efe884-1","kind":"pre","headingPath":["解域、结域、再结域：电影如何一边逃跑一边被抓回"],"text":"位置形成\n-> 位置逃逸\n-> 位置被重新记录","textSha256":"e54a6c1725e45781a545f8a5d608aa63a64d2e4db4c5aeb6106180a76ac9f12c","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-ab11316d6a1df99c-1","anchor":"p-ab11316d6a1df99c-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-ab11316d6a1df99c-1","kind":"p","headingPath":["解域、结域、再结域：电影如何一边逃跑一边被抓回"],"text":"第一部分用旋转方位结域。第二部分用长镜头让剧本、生活和摄影机背面解域。第三部分用水、眼睛、证明和捕获游戏把感官继续解域。第四部分把所有逃逸拿到观众面前公开推演，又用三角形、规则、表演法庭、白布和后台裂口不断再结域。第五部分把台前残余转入后台声场。第六部分用名单和 p4 theater 把逃逸过的东西冷却成档案。","textSha256":"3e583eb4c5e6195ac6eca66e700b72748d25b3594859cc9b9f3512af83caf94b","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-0c6b79ef06848bb7-1","anchor":"p-0c6b79ef06848bb7-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-0c6b79ef06848bb7-1","kind":"p","headingPath":["解域、结域、再结域：电影如何一边逃跑一边被抓回"],"text":"但这里最美的地方是：再结域从来不彻底。每一次归档都会漏一点声音。每一次命名都会剩一点不满。","textSha256":"3c839aef6e02ea31cb98af5fec955cf3e5fa886d5bc58b79367805f5a230ad11","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-de394f6784466b05-1","anchor":"p-de394f6784466b05-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-de394f6784466b05-1","kind":"h2","headingPath":["第四部分：不满公开化"],"text":"第四部分：不满公开化","textSha256":"0d0475a2b5270f2f58dff555b694731c4060925b28a0f0e8fa9f42e48257f60a","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-b0dec709c0717bbb-1","anchor":"p-b0dec709c0717bbb-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-b0dec709c0717bbb-1","kind":"p","headingPath":["第四部分：不满公开化"],"text":"第四部分之所以那么重要，是因为前三部分的不满终于不能再只在私密关系、排练、床、树林、水和眼睛里流动。它被公开放到观众面前。","textSha256":"c274094526ce2f01d5e0019c9d4910ba7461efe24ebcfb365093e80b020c3187","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-59ea76a02c4ca0c7-1","anchor":"p-59ea76a02c4ca0c7-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-59ea76a02c4ca0c7-1","kind":"p","headingPath":["第四部分：不满公开化"],"text":"数字 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从外部规则位进入三角形内，塑料薄膜把接触变成危险材料，白布把不可见变成画面中心，何发、入梦、赵子毅又在后台裂口里露出现场技术条件。","textSha256":"416d520a60814e25a56416f38a15577df435f20da61b14ae2c35ee5bb65be9d5","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-c907def5722ba759-1","anchor":"p-c907def5722ba759-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-c907def5722ba759-1","kind":"p","headingPath":["第四部分：不满公开化"],"text":"这里的不满不再只是“我不开心”。它变成一套公开推演：","textSha256":"45fc03f95d6c151610668d7a55b9feb54fe1a2ab9c329efcb280a09c76c1cb44","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-f934626162e58466-1","anchor":"p-f934626162e58466-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-f934626162e58466-1","kind":"pre","headingPath":["第四部分：不满公开化"],"text":"如果你不想说，现场会怎样继续？\n如果你发呆，大家看什么？\n如果你演得差，谁有资格上来替你？\n如果观众区进入演区，演出还算演出吗？\n如果白布让你看不见，观看真的停止了吗？\n如果报幕说结束，声音真的服从结束吗？","textSha256":"af577f6fb3b0876ef5890c1c0e292ab7f9a8143c68fd2bcbc1b17221f69a0a10","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-ab3a0cfe30b34d24-1","anchor":"p-ab3a0cfe30b34d24-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-ab3a0cfe30b34d24-1","kind":"p","headingPath":["第四部分：不满公开化"],"text":"第四部分不是把不满解决掉，而是让不满取得组织权。它逼出一个又一个行动，而这些行动并不来自既定剧本。它们是冲撞、碰撞、错配、误入、顶替、停顿、跳过、帮说、遮挡和漏声。","textSha256":"4b79e6e9e7688d84873acce42a7d81147750ac70722ede0c95e17ebcf173ec57","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-3251041b22322b09-1","anchor":"p-3251041b22322b09-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-3251041b22322b09-1","kind":"p","headingPath":["第四部分：不满公开化"],"text":"这就是你说的“残酷推演”。第一部分的长镜头像原初结构的出生。第二部分的长镜头像排练机器学会出入转化。第三部分把感官和证明推到水、眼睛和捕获游戏里。第四部分则不再给人物一个自然、放松、私密地面对关系的空间。它把关系放到公开倒计时里：必须结束，必须回地球，必须面对戏结束之后关系也要被切断的痛。","textSha256":"979fb0e3aa68c844a501bf51835c31a7a58de239bd9019a5f605fb5f3c2455a2","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-4df36833ae654574-1","anchor":"p-4df36833ae654574-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-4df36833ae654574-1","kind":"p","headingPath":["第四部分：不满公开化"],"text":"不满在这里不是失败。它是现场继续运转的燃料。","textSha256":"c8df45a0208c5075f045340a32e049e1ada7426bfcea6f67601b2df5e4c4760c","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-654a54e2ed556775-1","anchor":"p-654a54e2ed556775-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-654a54e2ed556775-1","kind":"h2","headingPath":["反俄狄浦斯不是把痛写轻，而是让痛找到出口"],"text":"反俄狄浦斯不是把痛写轻，而是让痛找到出口","textSha256":"8e8e3030cc74c9ed47edc9fb6a9c1eabbb689a860bc21bee9901d74fc7b5d98c","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-838e015b240bdfe0-1","anchor":"p-838e015b240bdfe0-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-838e015b240bdfe0-1","kind":"p","headingPath":["反俄狄浦斯不是把痛写轻，而是让痛找到出口"],"text":"这里要防一个误读。用 Deleuze/Guattari，不是为了把 Freud 的痛苦分析变得轻松，好像只要说“逃逸线”就自由了。","textSha256":"6944d059b0f60529e3bf0c5ab5e8ce5c5864961b5018c7e9de2d2c253490a9b5","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-2844d62252ce66fe-1","anchor":"p-2844d62252ce66fe-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-2844d62252ce66fe-1","kind":"p","headingPath":["反俄狄浦斯不是把痛写轻，而是让痛找到出口"],"text":"《人类投降派》里的逃逸线常常很痛。","textSha256":"04042d949dc91c204084bf1da73405c3c390cb23ef5b85b2169982cbd8950c0a","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-fd07b787e22c96ca-1","anchor":"p-fd07b787e22c96ca-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-fd07b787e22c96ca-1","kind":"p","headingPath":["反俄狄浦斯不是把痛写轻，而是让痛找到出口"],"text":"从剧本里跑出来，可能只是进入更尴尬的真实。 从观众区进入演区，可能不是解放，而是让围打和顶替成形。 白布遮住脸，可能不是保护，而是制造更强的可见性。 后台声场接走台前，可能不是治愈，而是让残余换一种方式继续。 片尾归档，可能不是结案，而是把不能解决的东西冷却保存。","textSha256":"77cb93bdc7533e020cdeb89b5552095a131defe5a67f82aee76e96a602663fd4","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-41dca01573188444-1","anchor":"p-41dca01573188444-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-41dca01573188444-1","kind":"p","headingPath":["反俄狄浦斯不是把痛写轻，而是让痛找到出口"],"text":"所以反俄狄浦斯在这里不是欢呼“逃出去”。它更像一种方法：不要把所有东西关回家庭、父亲、母亲、孩子、缺失、创伤的盒子里。要看这些位置怎样被社会压力、疫情后的封闭感、剧场制度、摄影机、观众、材料、音乐、字幕和档案共同生产。","textSha256":"893a47b82135a0c3b9ecb870ad70bf203e73f6d4285f29940f926a4ecbf0c865","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-8b3c81829f92c421-1","anchor":"p-8b3c81829f92c421-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-8b3c81829f92c421-1","kind":"p","headingPath":["反俄狄浦斯不是把痛写轻，而是让痛找到出口"],"text":"精神分裂式姿态也不是医学意义上的“分裂”。它是一种分析姿态：允许电影不只有一个中心，允许一个身体同时接好几条线，允许一个声音既是照顾又是程序，允许一个评价既是审美又是嫉妒，允许一个后台既是撤退又是继续。","textSha256":"6e22b5e02ee8b67083b965538be90c3198cddaab8c776a45754f3702af8e990b","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-046ccc9e2e970678-1","anchor":"p-046ccc9e2e970678-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-046ccc9e2e970678-1","kind":"h2","headingPath":["重新面对未来"],"text":"重新面对未来","textSha256":"997f0a7cefc6dea3a997d914f71aec1e02945bece9af0a7f73047a180e96bb74","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-2aeb1b35eaf3e0d6-1","anchor":"p-2aeb1b35eaf3e0d6-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-2aeb1b35eaf3e0d6-1","kind":"p","headingPath":["重新面对未来"],"text":"你说 Deleuze/Guattari 是在解放我们，让我们用精神分裂式姿态重新面对未来。放到《人类投降派》里，这句话可以写得很朴素：","textSha256":"3976d72a0804eebecc29414dddeadb85c92d807bd8745d0e52b98fc5a6309c01","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-e3045bb70555aedc-1","anchor":"p-e3045bb70555aedc-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-e3045bb70555aedc-1","kind":"p","headingPath":["重新面对未来"],"text":"未来不是一个干净的新开始。","textSha256":"62455035ba2059e4e111e09011dbb2ffcd8532da7ece919a3f198f94bec4d691","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-c5f6f75330418c01-1","anchor":"p-c5f6f75330418c01-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-c5f6f75330418c01-1","kind":"p","headingPath":["重新面对未来"],"text":"未来可能是这些已经被压过、演过、评过、吻过、抓过、遮过、录过、归档过的东西，还能不能再重新接线。","textSha256":"d3944b468b080563134c7bec217607956f744733597104d9949f9b00f8bd557c","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-aa60f588773d58f2-1","anchor":"p-aa60f588773d58f2-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-aa60f588773d58f2-1","kind":"p","headingPath":["重新面对未来"],"text":"这部电影没有给人物一个大团圆，也没有给观众一个清楚解释。它更像把一堆不满保存下来：文明的不满、关系的不满、表演的不满、疫情后身体的不满、孩子看见亲密的不满、观众无法只旁观的不满、导演无法只导演的不满、档案无法真正收束的不满。","textSha256":"f8142accb46eb8285b8a3c96ee4c0a994c8f27080ef41c587be3ac7f59ff4428","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-5518a294bb9e81d9-1","anchor":"p-5518a294bb9e81d9-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-5518a294bb9e81d9-1","kind":"p","headingPath":["重新面对未来"],"text":"但保存不满不等于沉溺不满。它也可能是一种未来的入口。","textSha256":"a348d5075da4a4a096346698844bd9bf3bc065c5679a486f92c37e180f33de9b","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-3c1268ddf721031f-1","anchor":"p-3c1268ddf721031f-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-3c1268ddf721031f-1","kind":"p","headingPath":["重新面对未来"],"text":"因为只有当不满不再被当成坏情绪清除，它才可能变成思想。只有当评价不再被当成纯标准，它才露出背后的嫉妒、痛和权力。只有当家庭位置不再被当成终极解释，它们才开始移动。只有当疫情后的封闭感不被说成单一主题，它才作为空气进入身体、声音和空间。","textSha256":"80b4611e53a13a1ffba86121a40fc8e964645fb132c2e0ada251b008ecfc4138","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-69b76ac3e283a79c-1","anchor":"p-69b76ac3e283a79c-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-69b76ac3e283a79c-1","kind":"p","headingPath":["重新面对未来"],"text":"所以《人类投降派》的未来感不是科幻式的。它不是月球，也不是门后的天堂。它更像一种很艰难的重新接线能力：","textSha256":"8198045e4d6ea0258eebc3cb937dd51c0c27975ebb924f8212e603f22f82fc12","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-63f7ef0034cda33c-1","anchor":"p-63f7ef0034cda33c-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-63f7ef0034cda33c-1","kind":"pre","headingPath":["重新面对未来"],"text":"已经被文明压过的身体，还能不能重新感觉？\n已经被剧本规定的关系，还能不能跑出一点东西？\n已经被评价切断的亲密，还能不能留下热度？\n已经被公开观看的痛苦，还能不能不被占有？\n已经被归档的现场，还能不能继续生成概念？","textSha256":"ab679931a830f15e67bcd7a2890bf90ea631deae04cf35444eb1510941becb9c","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-75108d53f5593759-1","anchor":"p-75108d53f5593759-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-75108d53f5593759-1","kind":"p","headingPath":["重新面对未来"],"text":"这就是不满机器最值得保留的地方。它不保证自由，但它拒绝让封闭成为最后事实。它不是说“我们已经逃出来了”，而是说：哪怕每一次逃逸都会被重新记录，逃逸仍然发生过；哪怕每一次不满都会被制度重新命名，不满仍然咬开过一个洞。","textSha256":"54352f68a4497bc49d21de9f259384f97fd54f1f57f0d3a82c4484f1bf677977","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-c483e9f77dd32ef9-1","anchor":"p-c483e9f77dd32ef9-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-c483e9f77dd32ef9-1","kind":"h2","headingPath":["不能越界"],"text":"不能越界","textSha256":"58f23a3649dc3d395f37cc8e6d4efb15ae8e93f4fae61914af84b2ec106c72ee","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-6a21f66a87dc6320-1","anchor":"p-6a21f66a87dc6320-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-6a21f66a87dc6320-1","kind":"li","headingPath":["不能越界"],"text":"不把《人类投降派》写成“疫情电影”或“疫情隐喻”的单一解释。","textSha256":"fc1eae9ce1788b5cfabc386d374761fbe435b6f26350c0de8c533f7e4b3b8446","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-35ce92e776b4a61c-1","anchor":"p-35ce92e776b4a61c-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-35ce92e776b4a61c-1","kind":"li","headingPath":["不能越界"],"text":"不把“不满机器”写成现实人物心理诊断、真实动机裁决或临床描述。","textSha256":"cbf6d5c6c272fe999573a6a7cdf5ff87e5d1168452d29b826dd27232a2442764","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-58ae3b3818ddb5b6-1","anchor":"p-58ae3b3818ddb5b6-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-58ae3b3818ddb5b6-1","kind":"li","headingPath":["不能越界"],"text":"不用 Deleuze/Guattari 取消 Freud/俄狄浦斯读法；两者应形成张力：Freud 读压抑和不满，Deleuze/Guattari 读欲望如何继续生产连接。","textSha256":"d7f0fb9f11ebeb4fde69ea236bae46042d13be57cb81eb728cbacbd6264ea33a","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-0e80848f1616102a-1","anchor":"p-0e80848f1616102a-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-0e80848f1616102a-1","kind":"li","headingPath":["不能越界"],"text":"不让 T3 理论覆盖 T0/T1 的角色锁、时间码、台词归属、空间动线和身体事实。","textSha256":"886c00a2f59f79ec0b2c25305a95e73bc3164c9a66a457f6c2a3f8c1c2997e38","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-86749061a13a27bb-1","anchor":"p-86749061a13a27bb-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-86749061a13a27bb-1","kind":"li","headingPath":["不能越界"],"text":"不把“逃逸线”浪漫化为自由；本片中的逃逸常常伴随危险、公开、材料压力、误认和再归档。","textSha256":"3441898c5f245987f888e98d02b2b0d79f98ff5ef20bcb5639ab303ed33f8ee4","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-0698090f773e03a4-1","anchor":"p-0698090f773e03a4-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-0698090f773e03a4-1","kind":"h2","headingPath":["下一轮可挖"],"text":"下一轮可挖","textSha256":"1254c7406e7211902975aaf346c029cbc9df41a72320cef9fd14adda7e6fc121","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-0c5a630ea11a326e-1","anchor":"p-0c5a630ea11a326e-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-0c5a630ea11a326e-1","kind":"li","headingPath":["下一轮可挖"],"text":"逐条追踪 演得太差了 和类似评价语气，建立“评价/不满声源表”。","textSha256":"3221a40788c04238164a0887e7be124d28befd7a16cdf39df1c6f6eb6eefbdaf","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-2c8488f94eb30254-1","anchor":"p-2c8488f94eb30254-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-2c8488f94eb30254-1","kind":"li","headingPath":["下一轮可挖"],"text":"把疫情后三年封闭高压背景作为边缘压力场，回扫门、锁、后台、流程、无法自由退场、不能自然结束等节点。","textSha256":"20bc4678e929eebae91457f18e6d0b87f5dd5b44e81dcbe0b3747e176506fdf4","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-62a79d8a4a6ae74d-1","anchor":"p-62a79d8a4a6ae74d-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-62a79d8a4a6ae74d-1","kind":"li","headingPath":["下一轮可挖"],"text":"对第四部分做“不满行动链”复扫：哪些行动不是剧本安排，而是不满被现场逼出的行动？","textSha256":"0d7a59e57791839539560e995c1c8f98fde04224a6d2af48903444e8d1ffa05f","links":[],"images":[]},{"id":"hs-87aedb6f86752543#p-ebe86d5446a56bc4-1","anchor":"p-ebe86d5446a56bc4-1","url":"https://a.p4theater.top/research/hs-87aedb6f86752543#p-ebe86d5446a56bc4-1","kind":"li","headingPath":["下一轮可挖"],"text":"继续处理 Freud 与 Deleuze/Guattari 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