The great pianist Arrau once said: "you have to be a well-rounded artist in order to become an exceptional great musician." He loves painting, literature, dance, poetry, and theater.
Thursday, February 19, 2009
The Great Pianist said...
The great pianist Arrau once said: "you have to be a well-rounded artist in order to become an exceptional great musician." He loves painting, literature, dance, poetry, and theater.
Tuesday, February 17, 2009
"I will die for you" from Romeo and Juliet
Music and Art Performance of "Romeo and Juliet":
1. Tchaikovsky: http://www.youtube.com/watch?v=yE34mKmizY8&feature=related
2. Violin Love theme: http://www.youtube.com/watch?v=dHyR4ZzA2R0&feature=related
3. Prokoviev Ballet: http://www.youtube.com/watch?v=ZB3sd2BAxys&NR=1
4. Belioz:
5. 1990 Skating: http://www.youtube.com/watch?v=pCAkTpc6xZE&feature=related
6. Leonado De Carprio's I will die for you: http://www.youtube.com/watch?v=9AlXffy8tO0
7. The Play: nothing good yet...
1. Tchaikovsky: http://www.youtube.com/watch?v=yE34mKmizY8&feature=related
2. Violin Love theme: http://www.youtube.com/watch?v=dHyR4ZzA2R0&feature=related
3. Prokoviev Ballet: http://www.youtube.com/watch?v=ZB3sd2BAxys&NR=1
4. Belioz:
5. 1990 Skating: http://www.youtube.com/watch?v=pCAkTpc6xZE&feature=related
6. Leonado De Carprio's I will die for you: http://www.youtube.com/watch?v=9AlXffy8tO0
7. The Play: nothing good yet...
Monday, February 16, 2009
On Valentine's Day: Romeo and Juliet
The Manifestication of true love that each puriest heart wish to aquire! One of my favorite play, Romeo and Juliet, and my favorite quotes:
Romeo: O, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night Like a rich jewel in an Ethiope's ear; Beauty too rich for use, for earth too dear!
Juliet: O Romeo, Romeo! wherefore art thou Romeo?
What ’s in a name? That which we call a rose By any other name would smell as sweet. . . . swear by thy gracious self,Which is The god of my idolatry. —Juliet tells Romeo that if he must swear on something to prove he is a faithful lover, he should swear only upon himself.
My bounty is as boundless as the sea, My love as deep; the more I give to thee, The more I have, for both are infinite.
I Romeo, Romeo, Romeo! Here's drink—I drink to thee.
Romeo: O, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night Like a rich jewel in an Ethiope's ear; Beauty too rich for use, for earth too dear!
Juliet: O Romeo, Romeo! wherefore art thou Romeo?
What ’s in a name? That which we call a rose By any other name would smell as sweet. . . . swear by thy gracious self,Which is The god of my idolatry. —Juliet tells Romeo that if he must swear on something to prove he is a faithful lover, he should swear only upon himself.
My bounty is as boundless as the sea, My love as deep; the more I give to thee, The more I have, for both are infinite.
I Romeo, Romeo, Romeo! Here's drink—I drink to thee.
Friday, February 13, 2009
Self-reflection
Self-reflection: in front of a mirror, reflecting a fantasy world that intoxicated her mind, body and soul....
Monday, February 9, 2009
童心未泯 ！
日月潭櫻花盛開，但是更令人極度興奮的是：好像城市的孩子下鄉，一路上經過玉米田，橘園，檳榔樹林，玫瑰園，草莓園, 梨園....!
Mini Golf Course： 澳門8度的天氣，冷風直颳，放棄了第一次下場的好奇...
Mini Golf Course： 澳門8度的天氣，冷風直颳，放棄了第一次下場的好奇... Sunday, February 8, 2009
Bon vivant at Robuchon...
The Moet Chandon Globe: it is better to feel tipsy once in a while...., while winning or loosing in the casino becomes a total entertainment...
Emerging in the Portuguese Style ....
The Robuchon Restaurant, Michelin 3Star: beautifully display , fancy, excellent and artistic taste and textured, original and creative...!! (Score: 96)
Venetian ....
Macao, Venetian
Surprisingly, I love to sit in the rebuilt street scene of Venice, where include the ever blue sky, the miniature Venetian architecture, the "outdoor" coffee and cafe terrace, and the lively canal fulfilled with beautiful Italian arias! Nonetheless, far less than the original Venice, it only takes less than 2 hours to experience something a bit European....
Shopping was a disappointment, but that did not spoil the romantic fragrance of this gigantic casino!
Saturday, January 24, 2009
金色筆記之 4：殺氣騰騰的氛圍
一種眼神告訴你，對一切的攻擊，侵犯，挑臖，挑戰，挑逗，都不懼怕！但是....
我能夠對一切即將到來的變化，所將面臨的青春老去，孤獨與死亡，毫不懼怕嗎？
朋友出高價換取永生的青春與財富，這個高價必須犧牲十個人的生命.... 雖然，極度不願意承認，在一霎那躊躇間，讓我感到自己殺氣騰騰的氛圍....雖只是一霎那的懼怕！我的慈悲心呢？
所以，懂我的人，微笑說，我還是個需要"被照顧的小女人" ......
Thursday, January 22, 2009
Zen in reality....
The Zen Master said: While we identify ourselves as CLOUDS, where belong to emotions, thinking, feelings, and physical sensations, we all have an opportunity to discover our true selves, the clear blue SKY, that we originally were born to be.
When Obama so eloquently spoke of the equalness of every one's happiness, I did see the SKY....
Wednesday, January 21, 2009
Hope over fear ...
Obama's Inauguration speech:
We have chosen Hope Over Fear!
http://cosmos.bcst.yahoo.com/up/player/popup/?rn=3906861&cl=11631215&ch=4226713&src=news
We have chosen Hope Over Fear!
http://cosmos.bcst.yahoo.com/up/player/popup/?rn=3906861&cl=11631215&ch=4226713&src=news
Monday, January 19, 2009
Saturday, January 17, 2009
Dance 5: Techniques of all Arts...
1 Ballet Swan Lake: http://tw.youtube.com/watch?v=T_5WCZ-XvG4
2 Rumba Performance: http://de.youtube.com/watch?v=NpKGY-AZO5M&feature=related
3 Argentina Tango: .http://tw.youtube.com/watch?v=PQRP50_7iPc
與其他的藝術相同，在"藝術論"裏 ，托爾斯泰談一切藝術涵蓋了靈性之深度，與藝術家意念的傳達，談到作品的特殊性, 歷史性與原創性。也因為擁有這些必要條件，一場演奏，一場舞蹈，一幅畫作，一部小說，才能稱之藝術。在這兒，我們更深入的談音樂性的體會，旋律節奏與舞步的相容，舞者感性的心靈交流，情感豐富與收斂的詮釋。如何的渾然天成，如何的讓人感動而不造作？ 這一切，都必須在純熟的技巧中完成，因此，技巧的準備與訓練是個重要且先決的條件。 雖然社交的舞蹈不同於表演的舞蹈，不同的是它courting 的特質..., 理論上他的進化過程要自由與輕鬆些，因為目的不同。
to be continued...
2 Rumba Performance: http://de.youtube.com/watch?v=NpKGY-AZO5M&feature=related
3 Argentina Tango: .http://tw.youtube.com/watch?v=PQRP50_7iPc
與其他的藝術相同，在"藝術論"裏 ，托爾斯泰談一切藝術涵蓋了靈性之深度，與藝術家意念的傳達，談到作品的特殊性, 歷史性與原創性。也因為擁有這些必要條件，一場演奏，一場舞蹈，一幅畫作，一部小說，才能稱之藝術。在這兒，我們更深入的談音樂性的體會，旋律節奏與舞步的相容，舞者感性的心靈交流，情感豐富與收斂的詮釋。如何的渾然天成，如何的讓人感動而不造作？ 這一切，都必須在純熟的技巧中完成，因此，技巧的準備與訓練是個重要且先決的條件。 雖然社交的舞蹈不同於表演的舞蹈，不同的是它courting 的特質..., 理論上他的進化過程要自由與輕鬆些，因為目的不同。
to be continued...
Javier Rodriguez y Andrea Missé's Photos
Dance4: Argentina Tango Music in brief
From argentina-tango.com
1. 1920s and 1930s, Carlos Gardel: Tango soon began to gain popularity in Europe, beginning in France. Bandleaders like Roberto Firpo and Francisco Canaro dropped the flute and added a double bass in its place. Lyrics were still typically macho, blaming women for countless heartaches, and the dance moves were still sexual and aggressive.
2. Gardel's death was followed by a division into movements within tango. Evolutionists like Aníbal Troilo and Carlos di Sarli were opposed to traditionalists like Rodolfo Biagi and Juan D'Arienzo.
3. The "Golden Age" of tango music and dance is generally agreed to have been the period from about 1935 to 1952, roughly contemporaneous with the big band era in the United States.
Some of the many popular and influential orchestras included the orchestras of Juan D'Arienzo, Francisco Canaro, and Aníbal Troilo.
D'Arienzo was called the "Rey del compás" or "King of the beat" for the insistent, driving rhythm which can be heard on many of his recordings. "El flete" is an excellent example of D'Arienzo's approach.
Canaro's early milongas are generally the slowest and easiest to dance to; and for that reason, they are the most frequently played at tango dances (milongas); "Milonga Sentimental" is a classic example.
Di Sarli had a lush, grandiose sound, and emphasized strings and piano over the bandoneon, which is heard in "A la gran muñeca" and "Bahía Blanca" (the name of his home town).
Pugliese's first recordings were not too different from those of other dance orchestras, but he developed a complex, rich, and sometimes discordant sound, which is heard in his signature pieces, "Gallo ciego", "Emancipación", and "La yumba".
Astor Piazzolla stretched the classical harmony and counterpoint and moved the tango from the dance floor to the concert stage. His compositions tell us something of our contemporary life and dancing it relates much to modern dance.
1. 1920s and 1930s, Carlos Gardel: Tango soon began to gain popularity in Europe, beginning in France. Bandleaders like Roberto Firpo and Francisco Canaro dropped the flute and added a double bass in its place. Lyrics were still typically macho, blaming women for countless heartaches, and the dance moves were still sexual and aggressive.
2. Gardel's death was followed by a division into movements within tango. Evolutionists like Aníbal Troilo and Carlos di Sarli were opposed to traditionalists like Rodolfo Biagi and Juan D'Arienzo.
3. The "Golden Age" of tango music and dance is generally agreed to have been the period from about 1935 to 1952, roughly contemporaneous with the big band era in the United States.
Some of the many popular and influential orchestras included the orchestras of Juan D'Arienzo, Francisco Canaro, and Aníbal Troilo.
D'Arienzo was called the "Rey del compás" or "King of the beat" for the insistent, driving rhythm which can be heard on many of his recordings. "El flete" is an excellent example of D'Arienzo's approach.
Canaro's early milongas are generally the slowest and easiest to dance to; and for that reason, they are the most frequently played at tango dances (milongas); "Milonga Sentimental" is a classic example.
Di Sarli had a lush, grandiose sound, and emphasized strings and piano over the bandoneon, which is heard in "A la gran muñeca" and "Bahía Blanca" (the name of his home town).
Pugliese's first recordings were not too different from those of other dance orchestras, but he developed a complex, rich, and sometimes discordant sound, which is heard in his signature pieces, "Gallo ciego", "Emancipación", and "La yumba".
Astor Piazzolla stretched the classical harmony and counterpoint and moved the tango from the dance floor to the concert stage. His compositions tell us something of our contemporary life and dancing it relates much to modern dance.
Dance3: Argentina Tango, being "at the present"...
Because the nature of its "improvisational steps", we may experience the highly concentrated attention paid during the dance, as parallel to performing arts, music performance, yoga practices and athletic sports. One to create a master piece is when one truly loves what he is expressing and communicating. Tango is envisioned as an intuitive and non-verbal language, which bridges two souls together, completing the vacant part of another.
Striving to act and react, to lead and follow, moment by moment in tango could be a very transforming experience, as we never know what to expect in life from your partner, and so does the Argentine Improvisational Tango. Responding for the moment, and fully attending every change throughout the music, throughout the time being, have all essentialized the philosophy towards our understanding the context of the music and the understanding of our partner. It is similar to meditation, for it provides the secrete of concentration, being "at the present", while we observe the ups and downs in our lives. The only difference is that tango takes two partners to culminate the perfection at a very close relations in a very short moment, and the meditation in life expands much longer and more complex.
Through a simple signal, one partner's insight thought has to transmit to the other partner's mind, the full attention was paid and the physical sensation was magnified. As an old saying: there is no "wrong" steps in tango, but only "misunderstanding". Your hearing becomes broader, your feeling of touch becomes sensuous, your feeling of smell becomes acute and your physical body becomes highly alert, open, responsive, and yet relaxed.
However, can one tango beautifully with anyone? The question lays upon can you give your heart fully for that person for the time being? Can you also melt into the music, feel its passion, its sorrow, its longing, its pain, its humor, its rage, its curiosity, or its alluring? Can you?
Striving to act and react, to lead and follow, moment by moment in tango could be a very transforming experience, as we never know what to expect in life from your partner, and so does the Argentine Improvisational Tango. Responding for the moment, and fully attending every change throughout the music, throughout the time being, have all essentialized the philosophy towards our understanding the context of the music and the understanding of our partner. It is similar to meditation, for it provides the secrete of concentration, being "at the present", while we observe the ups and downs in our lives. The only difference is that tango takes two partners to culminate the perfection at a very close relations in a very short moment, and the meditation in life expands much longer and more complex.
Through a simple signal, one partner's insight thought has to transmit to the other partner's mind, the full attention was paid and the physical sensation was magnified. As an old saying: there is no "wrong" steps in tango, but only "misunderstanding". Your hearing becomes broader, your feeling of touch becomes sensuous, your feeling of smell becomes acute and your physical body becomes highly alert, open, responsive, and yet relaxed.
However, can one tango beautifully with anyone? The question lays upon can you give your heart fully for that person for the time being? Can you also melt into the music, feel its passion, its sorrow, its longing, its pain, its humor, its rage, its curiosity, or its alluring? Can you?
Dance2 : Argentina Tango, the initial "embrace" tells you everything
Historically, dance has created community bonds, served as a form of spiritual practice, provided physical exercise and stress relief, and, of course, taken on the important role of a "mating ritual". Dance has always been distinguished in two categories either in the court or in the country circles, as the close position was not yet recognized in 17th century, however. While close embrace creates the most direct and instinctive communication between two people, it serves the power of its social purpose .
Close position was first found in the Viennese Waltz, while subsequently from the past 100 years, the tango traditions of close embrace was slowly emerged into the court dance and the dance culture of nobility and middle/high social classes.
In recent years people have been experiencing a revival of social dances from around the world. This indicates a growing need for people to reconnect with each other, their communities, and themselves. Partner dance just might open the door to this reconnection, and the tango, one of its most distinguished representatives, could be the key. In Buenos Aires, Argentina, where the tango was born around 1850, they say that the initial "embrace" tells you everything before you even take the first step. Well, what exactly, you might ask, is this "everything" that can be learned in a mere instant of physical contact?
The tango sidesteps the notion of a "right way," but rather teaches us, above all else, to "improvise." He, the leader, then invents a step of his own to accompany her, she follows, and so on until the end of the song. This is why the tango appears so complex, and why the two partners' legs manage to intertwine in such a remarkable way. Herein lies the beauty, and the puzzle, of the tango. While dancers change partners often, and every dance is different, bringing its own surprises, challenges, and thrills. Do we take a step softly, or does it carry a sharp accent? Do we embrace our partner very tightly, or very gently? There is a sudden connection between you and your partner after the initial embrace, whether you like it or not... That demonstrates the telepathic communication without language and without distracting thoughts ...
Close position was first found in the Viennese Waltz, while subsequently from the past 100 years, the tango traditions of close embrace was slowly emerged into the court dance and the dance culture of nobility and middle/high social classes.
In recent years people have been experiencing a revival of social dances from around the world. This indicates a growing need for people to reconnect with each other, their communities, and themselves. Partner dance just might open the door to this reconnection, and the tango, one of its most distinguished representatives, could be the key. In Buenos Aires, Argentina, where the tango was born around 1850, they say that the initial "embrace" tells you everything before you even take the first step. Well, what exactly, you might ask, is this "everything" that can be learned in a mere instant of physical contact?
The tango sidesteps the notion of a "right way," but rather teaches us, above all else, to "improvise." He, the leader, then invents a step of his own to accompany her, she follows, and so on until the end of the song. This is why the tango appears so complex, and why the two partners' legs manage to intertwine in such a remarkable way. Herein lies the beauty, and the puzzle, of the tango. While dancers change partners often, and every dance is different, bringing its own surprises, challenges, and thrills. Do we take a step softly, or does it carry a sharp accent? Do we embrace our partner very tightly, or very gently? There is a sudden connection between you and your partner after the initial embrace, whether you like it or not... That demonstrates the telepathic communication without language and without distracting thoughts ...
Friday, January 16, 2009
周杰倫-蘭亭序
曲：周杰倫 詞：方文山蘭亭臨帖 行書如行雲流水 月下門推 心細如妳腳步碎忙不迭 千年碑易拓卻難拓妳的美 真跡絕 真心能給誰
牧笛橫吹 黃酒小菜又幾碟 夕陽餘暉 如妳的羞怯似醉摹本易寫 而墨香不退與妳同留餘味 一行硃砂 到底圈了誰
無關風月 我題序等妳回懸筆一絕 那岸邊浪千疊 情字何解 怎落筆都不對而我獨缺 妳一生的了解
牧笛橫吹 黃酒小菜又幾碟 夕陽餘暉 如妳的羞怯似醉摹本易寫 而墨香不退與妳同留餘味 一行硃砂 到底圈了誰
無關風月 我題序等妳回懸筆一絕 那岸邊浪千疊 情字何解 怎落筆都不對而我獨缺 妳一生的了解
彈指歲月 頃城傾客間湮滅 青石版街 回眸一笑妳婉約恨了沒 妳搖頭輕歎誰讓妳蹙著眉 而深閨 徒留胭脂味
人雁南飛 轉身一瞥妳噙淚 掬一把月 手攬回憶怎麼睡又怎麼會 心事密縫繡花鞋針針怨懟 若花怨蝶 妳會怨著誰
無關風月 我題序等妳回手書無愧 無懼人間是非 雨打蕉葉 又瀟瀟了幾夜我等春雷 來提醒妳愛誰
Wednesday, January 7, 2009
For An Agitating mood.....
1. Argerich's Chopin Prelude: http://tw.youtube.com/watch?v=W8LoC3siqIY&feature=related
Kissin:http://tw.youtube.com/watch?v=iOLwHU31Wc0&feature=related
2. Argerich's Prokoviev Toccata: http://tw.youtube.com/watch?v=i6AhHBu_A_U
Frederich Chui: http://tw.youtube.com/watch?v=bSPDmQtWPak&feature=related
3. Bach's Toccata in d: http://tw.youtube.com/watch?v=eSjYAcUomds&feature=related
Tuesday, January 6, 2009
Thursday, December 25, 2008
"海角七號"，太令人失望!
本土主義抬頭? 還是南島愛情浪漫? 四不像! "海角七號"，看了DVD，很痛苦的看完，只有最後10 分鐘可看，其他的時間，都很爛... 實在令人太失望!
倘若這是一部台灣本土的代表佳作，實在是有辱台灣人的品味與能力! "海角七號" 之無法登上大雅之堂，更無法登上國際舞台，破壞了台灣人給外人的情感與文明印象外，在藝術的創意，眼光與技法上皆是粗製濫造! 猶如一部二十年前拍攝卻又拍得糟糕的片子。一部用音樂，用日語，用信件，用低俗話串連起來的片子，欲想表達異鄉人的感情寄託，異鄉人的抗拒與接納，與本土主義抬頭與融合的衝突，明明是一個平常的卻感情豐富的好故事，卻被拍得如此荒腔走板，丟盡顏面，還自認為自己很棒，很了不起!
許多朋友，勉強看了15分鐘便離去，對此部片皆不苟同! 難道所謂本土的台灣的片子，就一定得低級沒水平不成嗎? 更糟糕的是，它的票房與評價好到令人髮指....令人心寒台灣人對電影藝術的眼光!
第一，導演想在一部片裡表達過多他觀察到的現象，使得片子變成一個胡來的大雜燴! 殊不知去紆存菁，這裡有太多不必要的無聊鏡頭, 例如，一位口持阿密陀佛的出家人在一個毫無關連劇情的時間裡出現。例如，太多模特兒攝影舞島游泳等等的不必要鏡頭...；例如，大大在教堂裡不小心讓樂譜掉下來，導致有人心臟衰弱，也是無聊鏡頭!
第二，音樂的聲效，品質原創，都不夠水平!! 除了最後的野玫瑰很出乎意料的用月琴，口琴，吉他，中文，日文的大合唱，蠻令人感動，"南國之境"的旋律，和聲，編曲，唱腔還可以，之外的所有配樂，都是極糟糕! 我都忍不住煩擾，必須靜音才忍受看下去!
第三，對白的雜亂無章無重點! 例如: 那位鼓手對待老闆娘的情感，描述過多，這與整部片的主題扯太遠。 反而對那七封串連整部片情書的描述情感與場景過少。
第四，太多想搞笑又令人覺得低俗不好笑的場景與對話。 太多了, 不一一列舉!
第五，田中千惠與范逸臣的情感，讓人感覺太過突兀! 導演沒有利用電影的拍攝交錯手法，讓觀眾更加感動那七封情書與他們兩人的關係!
第六，開場的氣氛，實在就讓外人很不喜歡台灣，台灣人，更覺得這是個沒啥文明與氣質的地方! 描述南部鄉下，並不是台灣的唯一地方，台北台中高雄等的大城市都沒有這樣過的，一付像是倒退到30 年前的台灣似的! 明明是多年前偏頗的鄉村景象，卻還說代表台灣....! 沒有代表台灣吧!!? 令人覺得不恥!
第七，把原住民元素加進來原意是好的，卻被田中千惠拖了十分鐘一個一個的把項鍊戴上.....簡直是拖延時間罷了! 導演可以用其他的手法輕點重點!
第八，攝影技巧超級不行，攝影美感太不足，剪接技巧更是不好!
第九，演員演技不好，除了馬如龍演技純熟外，范逸臣還可以，表情仍嫌僵硬。田中千惠，茂伯等更是像極臨時演員的青澀與做作!
第十，那七封信一定得用日文嗎? 難道不能想辦法用中文念嗎? 讓人摸不著頭腦，疏遠太多! 導演可以開頭用男聲日文....接著一半田中千惠中文翻譯.....
第十一，范逸臣看得懂日文嗎? 好像不懂吧 ! 那他哪懂得信裡寫啥呀!!!????? 哪能有那些相互影響有關聯的情感寄託與感動呀???
筆者認為，台灣拍攝屬於自己的電影，是值得鼓勵的，魏德聖導演也該鼓勵，台灣人民有這股熱血也是很欣慰的，但是我們希望，電影的內涵，技巧，藝術，文化，演技....等都要有很大的進步，才是具有國際水準的片子。 不然，只是自己老王賣瓜，井底之蛙，是很可惜!
一到五顆星: 只給半顆星!
倘若這是一部台灣本土的代表佳作，實在是有辱台灣人的品味與能力! "海角七號" 之無法登上大雅之堂，更無法登上國際舞台，破壞了台灣人給外人的情感與文明印象外，在藝術的創意，眼光與技法上皆是粗製濫造! 猶如一部二十年前拍攝卻又拍得糟糕的片子。一部用音樂，用日語，用信件，用低俗話串連起來的片子，欲想表達異鄉人的感情寄託，異鄉人的抗拒與接納，與本土主義抬頭與融合的衝突，明明是一個平常的卻感情豐富的好故事，卻被拍得如此荒腔走板，丟盡顏面，還自認為自己很棒，很了不起!
許多朋友，勉強看了15分鐘便離去，對此部片皆不苟同! 難道所謂本土的台灣的片子，就一定得低級沒水平不成嗎? 更糟糕的是，它的票房與評價好到令人髮指....令人心寒台灣人對電影藝術的眼光!
第一，導演想在一部片裡表達過多他觀察到的現象，使得片子變成一個胡來的大雜燴! 殊不知去紆存菁，這裡有太多不必要的無聊鏡頭, 例如，一位口持阿密陀佛的出家人在一個毫無關連劇情的時間裡出現。例如，太多模特兒攝影舞島游泳等等的不必要鏡頭...；例如，大大在教堂裡不小心讓樂譜掉下來，導致有人心臟衰弱，也是無聊鏡頭!
第二，音樂的聲效，品質原創，都不夠水平!! 除了最後的野玫瑰很出乎意料的用月琴，口琴，吉他，中文，日文的大合唱，蠻令人感動，"南國之境"的旋律，和聲，編曲，唱腔還可以，之外的所有配樂，都是極糟糕! 我都忍不住煩擾，必須靜音才忍受看下去!
第三，對白的雜亂無章無重點! 例如: 那位鼓手對待老闆娘的情感，描述過多，這與整部片的主題扯太遠。 反而對那七封串連整部片情書的描述情感與場景過少。
第四，太多想搞笑又令人覺得低俗不好笑的場景與對話。 太多了, 不一一列舉!
第五，田中千惠與范逸臣的情感，讓人感覺太過突兀! 導演沒有利用電影的拍攝交錯手法，讓觀眾更加感動那七封情書與他們兩人的關係!
第六，開場的氣氛，實在就讓外人很不喜歡台灣，台灣人，更覺得這是個沒啥文明與氣質的地方! 描述南部鄉下，並不是台灣的唯一地方，台北台中高雄等的大城市都沒有這樣過的，一付像是倒退到30 年前的台灣似的! 明明是多年前偏頗的鄉村景象，卻還說代表台灣....! 沒有代表台灣吧!!? 令人覺得不恥!
第七，把原住民元素加進來原意是好的，卻被田中千惠拖了十分鐘一個一個的把項鍊戴上.....簡直是拖延時間罷了! 導演可以用其他的手法輕點重點!
第八，攝影技巧超級不行，攝影美感太不足，剪接技巧更是不好!
第九，演員演技不好，除了馬如龍演技純熟外，范逸臣還可以，表情仍嫌僵硬。田中千惠，茂伯等更是像極臨時演員的青澀與做作!
第十，那七封信一定得用日文嗎? 難道不能想辦法用中文念嗎? 讓人摸不著頭腦，疏遠太多! 導演可以開頭用男聲日文....接著一半田中千惠中文翻譯.....
第十一，范逸臣看得懂日文嗎? 好像不懂吧 ! 那他哪懂得信裡寫啥呀!!!????? 哪能有那些相互影響有關聯的情感寄託與感動呀???
筆者認為，台灣拍攝屬於自己的電影，是值得鼓勵的，魏德聖導演也該鼓勵，台灣人民有這股熱血也是很欣慰的，但是我們希望，電影的內涵，技巧，藝術，文化，演技....等都要有很大的進步，才是具有國際水準的片子。 不然，只是自己老王賣瓜，井底之蛙，是很可惜!
一到五顆星: 只給半顆星!
民歌1: 曠野寄情
雖未搭上民歌的列車，
很小時的候，也常聽大哥哥大姐姐們唱這些校園民歌，
氣勢雄偉澎湃，清新脫俗:
看了 2005 民歌演唱大會DVD, 很感動...
http://tw.youtube.com/watch?v=5dyLmc6bA90
曠野寄情: 演唱:李建復
我又回到相遇的地方
一個空曠淒情的地方
讓北風從我臉上吹掠
我的心也隨風飛翔
我又聽到熟悉的音響
一種溫柔原始的奔放
辟啪啪弦聲在山谷迴響
我的心也隨之盪漾
千里冷月伴星光
但我的歌聲高亢啊...高亢
(啊...我的心也隨之盪漾)
很小時的候，也常聽大哥哥大姐姐們唱這些校園民歌，
氣勢雄偉澎湃，清新脫俗:
看了 2005 民歌演唱大會DVD, 很感動...
http://tw.youtube.com/watch?v=5dyLmc6bA90
曠野寄情: 演唱:李建復
我又回到相遇的地方
一個空曠淒情的地方
讓北風從我臉上吹掠
我的心也隨風飛翔
我又聽到熟悉的音響
一種溫柔原始的奔放
辟啪啪弦聲在山谷迴響
我的心也隨之盪漾
千里冷月伴星光
但我的歌聲高亢啊...高亢
(啊...我的心也隨之盪漾)
Monday, December 22, 2008
True Love 2
As sad and defeated as I, my eyes swelled and soaked when the discovery came into my mind after many years of searching....
The universe turns, spins and reincarnates in its own way, impermanently and dependently, and sadly to say, there is so exceptions. Once in life time, one must have believed in True Love, forever caring, unconditional, passionate, faithful and only; however, from this profound faith, no one ever have survived in its eternal blessing in passion and grace.
I do very much want to believe: If you have a true moment of altruistic and cherishing thoughts toward your lover, you might discover the ultimate possibility of happiness. Everlasting is bestowed by each sincere moment of giving your heart and love...
Friday, December 19, 2008
Thursday, December 18, 2008
Chopin 1: Barcarolle Op.60
Rubinstein: http://tw.youtube.com/watch?v=dNcb3inSg2I
Zimerman: http://tw.youtube.com/watch?v=KU-5u2dmXdM&feature=related
Argerich: http://tw.youtube.com/watch?v=f99mfQOldx0&feature=related
蕭邦的作品中，就僅有這麼一首作品60船歌，這是他1846年的作品，也就是跟喬治‧桑分手的前一年，比作品52的Ballade第四號寫作時間 ( 1842 ) 遲了三年。等於說是在他的生命已接近最深曾的盡頭時，所寫下的作品。蕭邦長久因肺病纏身，數度陷於病塌而無法提筆作曲、演奏鋼琴。根據記載，這首Barcarolle是他在1846年內，所完成的三首著名作品之一，在此之後，便不復有聞名作品傳世。在這時他所作的曲中，已經沒有與George Sand熱戀時轟轟烈烈而奔放的感覺，取而代之的是種更加沉穩、深邃的境界。蕭邦雖採用威尼斯船歌特有的節奏，卻不以描寫方光明媚的義大利及鄉土色彩為目的。這是「坐在船上，只知道自己天地的一對戀人，情意綿綿的戲劇性對話」。
整首Barcarolle中，速度、音型及強弱起伏並不甚大，和弦的使用及變化上亦相當地單純，幾乎可以說，全曲就在相當平靜的狀態下自開始迄結束。通常，Barcarolle的曲式都是短短四、五分鐘，甚至更短的A→B→A→Coda形式小曲，蕭邦的這首曲子亦保持了此種特性。只是，它長達八分多鐘的時間及所謂異於「風情萬種」之風格，使得在音樂的詮釋上，愈增添了幾分難度。典型的Barcarolle為6/8拍，其強拍在第一拍，弱拍在第四拍，蕭邦則變更為12/8拍，把強拍放在第一拍及第七拍，弱拍在第四拍及第十拍，並且延長其旋律線，使之更為流暢。
本曲的演奏必須具備完璧的演奏技巧。流暢不間斷的節奏，第一段與中段不甚明確對立的這首樂曲，雖然每個細節都很優美，或許容易聽來冗長單調也說不定。這是蕭邦全部作品中最要求表現手法及用頭腦，用心來演奏的難曲之一。
Sunday, December 14, 2008
失速的脈搏
你在你的眼裡，勾畫出我的輪廓，
你用眼的彩筆，揮灑上火光的色彩...
我在失速的脈搏中，
迷失在你灑下的光譜裡，狂亂。
你說有些時候，
天上的星星，
總被最亮的圓月占據。
你說有些時候，
細數射手銀河的夜裡，
總是毫無月的聲息...
你說黑夜無時不美，不輕，不驥?
你用一口氣的遲疑，換取了我的問候，
我用一縷煙的距離，游離你我的親密，
只因晴天裡， 突然烏雲滿佈下起雷雨。
你點上一根蠟燭，在烏雲裡擁抱，
我點上一盞檀香，在急流裡尋覓，
讓雨水浸淋我們的身軀。
失速的自轉輪迴，千世浩劫，
隨愛火棧戀，隨欲想牽連。
我的脈搏總是，這樣的為你 ，
飛越，沉溺，消失，再沉溺。
12/13/08 full moon, Taipei
你用眼的彩筆，揮灑上火光的色彩...
我在失速的脈搏中，
迷失在你灑下的光譜裡，狂亂。
你說有些時候，
天上的星星，
總被最亮的圓月占據。
你說有些時候，
細數射手銀河的夜裡，
總是毫無月的聲息...
你說黑夜無時不美，不輕，不驥?
你用一口氣的遲疑，換取了我的問候，
我用一縷煙的距離，游離你我的親密，
只因晴天裡， 突然烏雲滿佈下起雷雨。
你點上一根蠟燭，在烏雲裡擁抱，
我點上一盞檀香，在急流裡尋覓，
讓雨水浸淋我們的身軀。
失速的自轉輪迴，千世浩劫，
隨愛火棧戀，隨欲想牽連。
我的脈搏總是，這樣的為你 ，
飛越，沉溺，消失，再沉溺。
12/13/08 full moon, Taipei
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