文章摘自：http://vitamincreativespace.blogbus.com/logs/41461441.html Ming Wong, Life of Imitation, Exhibition view at Singapore Pavilion, the 53th Venice Biennial, 2009 the following fiction is Hu Fang's contribution to Ming Wong, Life of Imitation, Singapore Pavilion, the 53th Venice Biennial, 2009, pp.25,26 Notes from a Film Director I During Everything At As The Finally, The In
导演手记 Notes from a Film Director - [HuFang观心亭]
以下胡昉的小說《導演手記》收錄於黃漢明：《一世模仿》，第五十三屆威尼斯雙年展新加坡國家館展覽畫冊，2009，第25-26頁：
導演手記
我鐘愛這樣一個故事：素不相識的七男七女，在玻璃房子裡共同生活一個月。在被切斷和過去生活所有聯繫的情況下，他們相互之間展開全新的人生角逐，從而激發出人類所具有的最原始的愛欲情仇。
最開始的一周，看得出，他們小心翼翼，試探性地交往，企圖用自己過去的輝煌和以往的社會身份來贏取對方的好感，但這一切在玻璃房子裡就像空頭支票般不具說服力，漸漸地，他們發現：只有身體和單純而又甜蜜的話語才是決勝性的因素，它們才會向對方展示一個"真實的自我"。
在這個全透明的封閉空間，一切都被鏡頭監視著，全國的觀眾（包括他們各自的愛人）都圍坐在電視機前，饒有興致地觀察著他們的一舉一動，並按動手機，發出短信。
有時候，參賽者想向編導求救，承認自己的脆弱，然後退出比賽，但百萬奬金誘惑著他們（每個人都有贏取奬金的充分理由），一種自我榮譽感也驅使著他們，使得他們誰也不想輕言放棄。
他 們中的一些渡過一個又一個不眠之夜，伴隨著他們在鏡頭前面的輾轉反側，他們各自的愛人也渡過一個又一個不眠之夜，要作出一個正確的決定是多麼困難啊！按慣 例，他們每天都必須對著鏡頭向愛人說幾句話，大多是對往事的追憶、一些人生感悟和良心發現後的懺悔，引發了全國大面積的淚花。當他們深情脈脈地直視鏡頭， 向想象中的愛人說話時，實際上他們是深情脈脈地凝視著觀眾，向所有的觀眾傾訴。一次又一次的經驗告訴他們：重要的不是贏取玻璃房子裡那個異性的好感，而是 贏取玻璃房子外所有觀眾的好感。
參賽者的目光飄忽迷離，發射到玻璃房子外，猶如從地球上發往漆黑宇宙的信號。
終於，參賽者中的一對接吻了，他們如此深情，使得另一對也不甘落外地緊緊擁抱在一起。這個特寫如此清晰和悠長，以至他們在玻璃房子外的愛人不得不用砸碎電視的方式中斷這個無窮無盡的接吻。
玻璃房子在電視的碎片中裂成碎片，而情人們相互接吻的畫面卻深深殘留在那個男人或女人的腦海中，成為此生揮之不去的記憶。
而我年輕時的夢想就是要成為這出"真實悲喜劇"的電視編導，在參賽者們熱烈接吻、表現激情的同時，立刻將鏡頭切換到一個個私密空間內、電視機前那個男人或女人絕望的表情。
am particularly fond of this story: 7 men and 7 women who do not know
one another, living in a glass house together for a month. Because
their circumstances require that they sever all ties with their
previous ways of life, they develop a brand new dynamic amongst
themselves, and as a result, this sparks off the fundamental emotions
of humankind - love, desire, passion and hatred.
the first week, their caution with one another is evident. They make
tentative attempts at communication, tapping on their past glories and
social statuses to get into the good books of others. However, all that
happens within the glass house is as convincing as empty promises.
Gradually, they realise: the sole elements to victory are their own
beings and the purity and simplicity of words; it is these things that
are needed to reveal a "true self" to the other party.
in this transparent and closed space is captured by the camera, and
viewers from all over the country (including their own loved ones) are
gathered around their televisions sets, watching their every move with
intense interest, whipping out their cellphones to send text messages.
times, the participants wonder if they should seek help from the
director, admit to their personal weaknesses, and then withdraw from
the competition. But the lure of millions of dollars in prize money is
irresistible (everyone has valid reasons for why they ought to win).
They are also constrained by their sense of personal pride, hence no
one would allow himself or herself to give up that easily. Some of them
endure sleepless nights, and their loved ones - following their
struggles as observed by the camera - consequently suffer the same
insomnia with them. How difficult it was to make the right decision!
required, each of them has to say a few words via the camera to their
loved ones each day; most of the time, these revolve around their
recollections on the past, realisations about life and confessions when
their consciences are pricked. These in turn elicit widespread national
tears. When the participants look right into the camera, and speak to
their loved ones with deep emotions, in actual fact, they are gazing at
the audience, confiding in them with great sentiment. Time and time
again, this experience reiterates to them: what is important is not
leaving good impressions on the opposite sex in that glass house, but
rather, winning the favour of the audiences outside the glass house.
participants' views are indistinct, and when projected beyond the glass
house, are akin to messages sent from earth into the dark unknown that
is outer space.
a pair amongst the participants kiss. Their profound love spur on
another pair, unwilling to be left behind, to embrace each other. This
incredibly lucid and protracted feature story drives their loved ones
outside of the glass house to resort to smashing up their television
sets in a bid to break that endless kiss.
fragments of the television set are symbolic of the shattering of the
glass house. Yet the image of the kissing lovers remains deeply seared
into the minds of that man or that woman; it has become an indelible
memory in their lives.
my youth, I dreamed of becoming the director of that "tragicomic
reality show". As the participants are wrapped up in their passionate
embraces, I would have the shot cut to a series of personal, private
spaces, to focus on the despair on the face of that man or woman
sitting before the television.
國外藝術家 «
黃漢明（Ming Wong） «
《一世模仿》--黃漢明（Ming Wong）創作自述
全文