《第十一回》:先锋与媚俗的辩证法

The Eleventh Chapter: The Dialectic between Avant-garde and Kitsch

电影《第十一回》是"先锋戏剧电影化"的典型案例,它试图将诗意与世俗进行融合,却陷入更深的美学分裂。这基于三个原因:其一是乡村与城市的美学差异,用舞台上的"小资趣味"来展现农村往事;其二是大众与精英的融合尝试,用后现代主义狂欢致敬戏剧经典;其三是先锋与媚俗的辩证转化,用已成俗套的20世纪90年代中国"先锋戏剧"形式来表达反叛。尽管"戏剧生活"的公共性正在消逝,但创作者仍需通往社会之真,别让布莱希特沦为一场游戏。

The Eleventh Chapter is a typical case of "avant-garde drama filming", which attempts to merge poetry with secularity but falls into a deeper aesthetic division. This is due to three reasons. Firstly, the film uses the "petty bourgeoisie sense" on the stage to show the past in the countryside, manifested as the aesthetic difference between urban and rural areas. Secondly, the film is intended to merge the mass and the elites with a postmodern carnival when paying tribute to drama classics. Thirdly, the dialectical transformation between avant-garde and kitsch indicates that the rebellion in the form of "avant-garde drama" in the 1990 s can easily become a cliché. Although the publicity of "drama life" is fading, artists still need to fight for the reality of society. Don’t reduce Brecht to a game.