Voice 1 (male "professional announcer" type): This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.

　　These people also scorned "subjective profundity". They were interested in nothing but an adequate and concrete expression of themselves.

（声音1(男“职业播音员”型)：这个街区(1)是为了维护小资产阶级的可悲尊严，为了体面的职业和智力旅游而建的。上层的久坐人口受到了保护，不受街道的影响。

这个街区一直没变。这是我们故事的奇怪背景，在那里，对一个社会的所有消遣和工作的系统质疑，对其幸福观的全面批判，都表现在行为上。这些人还嘲笑“主观深刻性”。他们所感兴趣的只是对自己的充分和具体的表达。）

　　Voice 2 (Debord, monotone): Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.

（声音2(Debord，单调)：人类没有完全意识到他们的现实生活-通常在黑暗中摸索；被他们行为的后果淹没；每时每刻，群体和个人都发现自己面临着他们不希望看到的结果。）

　　Voice 1: They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.

　　Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.

　　The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.

（声音1：他们说遗忘是他们最大的激情。他们每天都想重塑一切，成为自己生活的主人和主人。

正如人们不能根据自己的观念来判断一个人一样，我们也不能根据他们自己的意识来判断这样的过渡时期，相反，我们必须通过物质生活的矛盾来解释意识，通过社会条件和社会生产力量的冲突来解释意识。

在控制自然方面取得的进步还没有与相应的日常生活解放相匹配。青年在各种听天由命的控制中逝去。）

　　Our camera has captured for you a few aspects of a provisional microsociety.

　　The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole "” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.

　　This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.

　　The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...

（我们的相机为您捕捉到了临时微型社会的几个方面。经验事实的知识只要不是通过融入整体而具体化，它就仍然是抽象的和肤浅的。只有这样，才能取代局部和抽象的问题，从而达到它们的具体本质，并隐含地理解它们的意义。

这群人处于经济的边缘。它倾向于纯消费的角色，首先是那个时代的自由消费。

因此，它发现自己直接参与了日常生活的质的变化，但却被剥夺了任何干预它们的手段。

这群人分布在一个非常小的区域内。同样的时间把他们带回了同样的地方。

没有人早点上床睡觉。关于这一切的意义的讨论仍在继续……）

　　Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."

（声音2：“我们的生活是一次旅行，在冬天和夜晚。” “我们在寻找我们的通道……”）

　　Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations.

（声音1：被遗弃的文学仍然对新的情感表达起到了延缓作用。）

　　Voice 2: There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.

　　On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.

（声音2：在这个经常穿越的迷宫里，早晨的疲惫和寒冷，就像一个我们必须解开的谜团。这是一个镜子般的现实，我们必须通过它来发现现实的潜在丰富性。

河岸上的黄昏又开始了；还有爱抚；还有一个不重要的世界的重要性。就像眼睛看不清很多东西，只能看清楚一个一样，意志也只能不完全地朝着不同的对象努力，一次只能完全爱一个。）

　　Voice 3 (young girl): No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.

（声音3(年轻女孩)：没有人指望未来。以后永远不可能在一起，或者在其他任何地方。不会有比这更大的自由了。）

　　Voice 1: The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.

（声音1：时间的拒绝和变老的拒绝，自动限制了在这个狭小的、偶然的区域内的相遇，在那里，所缺少的被认为是无法弥补的。不工作的谋生手段的极端不稳定是这种不耐烦的根源，这种不耐烦使过度行为成为必要，而断绝关系是必然的。）

　　Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language.

（声音2：如果不对一个组织的所有语言形式提出质疑，就不会真正对该组织的存在提出质疑。）

　　Voice 1: When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment "ordinary life" can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.

　　The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant: nuns.

　　What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.

（声音1：当自由在一个封闭的圈子里实践时，它就会淡化成一个梦，变成它自己的一种表现。游戏的气氛本质上是不稳定的。任何时候，“平凡生活”都可能再次盛行。游戏的地域限制比时间限制更引人注目。任何博弈都发生在其空间域的等高线内。在这个社区周围，围绕着它短暂的、受到威胁的静止不动，延伸着一座鲜为人知的城市，在那里，人们只是偶然相遇，永远迷失了方向。

那些在那里找到路的女孩，因为她们在法律上一直处于家庭的控制之下，直到18岁，经常被那个令人憎恶的机构的捍卫者重新抓获。他们一般都被关在那些造物主的看守之下，在所有坏社会的恶果中，修女是最丑陋、最令人厌恶的。

纪录片之所以如此容易理解，通常是因为其主题的武断限制。他们描述了社会功能的原子化和产品的孤立化。相反，人们可以设想，没有被分解成作品的时刻的全部复杂性，一个运动中不容分解地包含事实和价值，其意义尚未显现的时刻。

那么纪录片的主题就是这个混乱的整体。）

　　Voice 2: The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.

（声音2：这个时代已经到了知识和技术手段的高度，使得直接构建解放的情感和现实存在的方方面面成为可能，而且越来越有必要。这些优越的行动手段的出现，已经谴责了那些野心和权力都已经过时的审美活动。由于清算商品经济的计划拖延了，这些手段仍然没有得到使用。艺术的衰败和昔日风俗的所有价值观的衰败构成了我们的社会学背景。统治阶级垄断了我们需要控制的工具，以实现我们这个时代的集体艺术，这把我们排除在了官方致力于描绘和重复过去的文化作品之外。

一部关于这一代人的艺术电影只能是一部没有真正创作的电影。）

　　Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.

（每个人都不假思索地一劳永逸地沿着学到的路走，去他们的工作，去他们的家，去他们可预测的未来。对他们来说，责任已经变成了一种习惯，习惯成了一种责任。他们没有看到他们城市的不足之处。他们认为生活中的不足是自然而然的。我们想要打破这种局限，寻求城市景观的另一种用途，寻求新的激情。几个地方的氛围给了我们一个建筑未来的力量的暗示，它将有必要创造出来，成为不那么平庸的游戏的支撑和框架。我们不能指望任何我们自己没有改变过的东西。城市环境像报纸一样猛烈地宣扬统治社会的秩序和品味。是人统一了世界，但人却无处不在。人们看不到他们周围任何不是他们自己形象的东西；一切都在向他们诉说着他们自己。他们的风景是鲜活的。到处都是障碍物。在所有类型的障碍中都有一种凝聚力。

他们保持了一致的贫困统治。一切都联系在一起，必须通过一场统一的斗争来改变一切，或者什么都不做。联系群众是必要的，但我们却睡得团团转。）

　　Voice 3: The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.

（声音三：无产阶级专政是一场与旧世界势力和传统作斗争的绝望斗争，流血与不流血，暴力与和平，军事与经济，教育与行政。）

　　Voice 1: In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.

（声音1：在这个国家，又一次是有秩序的人造反了。他们已经加强了他们的力量。他们可以随心所欲地加剧统治条件的丑恶。他们用过去的葬礼来点缀他们的制度。）

　　Voice 2: Years, like a single instant prolonged to this point, come to an end.

（声音2：岁月，就像一个瞬间延伸到这一点，结束了。）

　　Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.

（声音1：直接活着的东西在遥远的地方冰冻地再现，符合一个时代的品味和幻想，随之而来。）

　　Voice 2: The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept?

（声音2：我们没有制造的事件，别人对我们不利的事件的出现，现在迫使我们意识到时间的流逝，它的结果，我们自己的愿望变成了事件。过去和现在的不同之处恰恰在于它遥不可及的客观性；没有更多的应该；存在被消耗得如此之多，以至于它已经不复存在。细节已经消失在时间的尘埃中。谁害怕生活，害怕黑夜，害怕被带走，害怕被禁锢？）

　　Voice 3: What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.

（声音3：应该废除的东西还在继续，我们还在继续消磨。我们被吞没了。我们分开了。几年过去了，我们什么都没有改变。）

　　Voice 2: Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.

（声音2：又一次早晨在同一条街道上。又一次，如此多的人疲惫地度过了类似的夜晚。这是一次持续了很长时间的步行。）

　　Voice 1: Really hard to drink more.

（声音1：真的很难再多喝了。）

　　Voice 2: Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation "” poor and false like this botched traveling shot.

（声音2：当然可以把它拍成电影。但是，即使这样的一部电影成功地像它所处理的现实那样从根本上脱节和令人不满意，它也永远不会超过像这个拙劣的旅行镜头那样的再创造“”贫穷和虚假。）

　　Voice 3: There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments? The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.

（声音3：现在有些人以自己是电影作者为荣，就像其他人是小说作家一样。他们甚至比小说家更落后，因为他们没有意识到个体表达在我们这个时代的分解和枯竭，也没有意识到被动艺术的终结。他们的真诚受到赞扬，因为他们戏剧化地，以更个人的深度，将他们生活所组成的习俗戏剧化。人们在谈论解放电影院。但是，如果再解放一种艺术，让汤姆、迪克或哈里可以快乐地表达他们的奴性情绪，那对我们又有什么关系呢？唯一有趣的冒险是解放日常生活，不仅从历史的角度来看，而且对我们来说也是如此。这就导致了异化交流形式的消亡。电影院也必须被摧毁。）

　　Voice 2: In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.

（声音2：归根结底，明星是由我们对他们的需要创造出来的，而不是由他们的才华或缺乏才华，甚至不是由电影业或广告业创造的。悲惨的需求，阴郁的，匿名的生活，想要将自己扩展到电影生活的维度。银幕上的想象生活就是这种现实需求的产物。恒星就是这种需求的投射。）

　　The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.

　　To really describe this era it would no doubt be necessary to show many other things. But what would be the point?

　　Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.

　　1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.

（中场休息时的广告画面比任何其他画面都更适合唤起生活的间歇。

要真正描述这个时代，无疑有必要展示许多其他的东西。但这有什么意义呢？

与其给旧世界增添更多的奇观和记忆的废墟，不如把握住已经做了什么和还有什么要做的事情的总体情况。

1.这部电影唤起了情境主义运动起源时的小说家经历，以20世纪50年代初小说家经常光顾的巴黎地区的镜头开场。）

卡琳娜，你在戈达尔之前就是明星，但你如果没有遇见戈达尔的话，我也知道你会很可爱。有男人将爱你，并一直留在心中。

卡琳娜与香皂的广告真好，我相信爱你的人一定留在心中。

居伊，自杀，吴昊昊继承，在中国。
但我有所超越，行动电影，我说不清，但是以后有人会明白。

我感受到了力量，我有同伴，这样就能一起“做爱”

居伊，我现在不想自杀。

谢谢法国，昊昊在中国感谢你们。

影像，放大镜。

死亡吧，影像。
那或许就会把自己也逼死。

解构我们的世界，行动是关键。
看吧，世界属于我们的。

原文地址：http://www.qh505.com/blog/post/4986.html

肥皂是洁白的，裸体的女孩是洁白的，房间是洁白的，于是电影也是洁白的。这是纪录片的最后一个镜头，当这个女人抚摸肥皂露出暧昧笑容的时候，她展示了什么，或者说电影展示了什么？是生活的美好，是欲望的纯净，还是产品的诱惑？居伊·德波用这样一个镜头揭示的却是某种虚幻的生活，它是广告，是为了消费产品，而在可能的消费中，连裸体女孩也一起消费了，于是，镜头的背后是一种“悲惨的需要”，是“凄凉的、匿名的表达”，而这样的解构是为了另一种建构，“与其给旧世界增添更多的景象和记忆，还不如全面地了解已经做过的事情和还有待做的事情。”

最后的肥皂广告，在某种程度上却来源于另一部电影的镜头，也是女人，也是洗澡，却并没有展示肥皂的光滑与洁白，洗完澡后那女人的一句台词是：“我们分居了。岁月流逝，我们什么也没有改变。”那么这是一部艺术电影吗？当女人不再是产品的代言人，在那个分居的故事里，是不是远离了消费？而当岁月流逝和生活变迁写在女人眼睛里的时候，她也不是在这身心的暂时放松中在“给旧世界增添更多的景象和记忆”？她也不是缺乏勇气去“全面了解已经做过的事情和还有待做的事情”？

广告呈现的是虚幻的生活，电影表现了怀旧情绪，而它们的共同特点是用明星来制造生活，制造情调，“明星就是这种需求的投影。”它仅仅是一种投影，在居伊·德波看来，这种投影终结了真正的艺术，抹除了个人的深度，甚至将生活所包含的习俗戏剧化，当明星成为我们的需要，当影像制造了虚幻，电影只不过表达了人们的奴性情感，甚至让人们在异化的交流方式中成为一钟商品，在和日常生活脱离了联系的现实中，“但这又有什么意义呢？”

“电影也必须被销毁。”这是居伊·德波的一句宣言，当他开始转向情境主义的时候，需要回答的是“应该废除什么”，就像电影台词所说“我们分居了”。这是1952年的巴黎，街道里有车辆，有行人，他们匆匆行走，在这个城市里寻找自己的方向和位置，他们不是上层居民，他们只是生活在能够容纳他们的卑微尊严、体面职业的社区里，而其实他们生活着，却没有意识到他们的真实生活：“通常在黑暗中摸索；被他们行为的后果所淹没；每时每刻群体和个人发现自己面对着他们没有希望的结果。”没有希望的生活中有早晨的疲惫和寒冷，有夜晚的迷离和孤独，“正如眼睛对许多事物都有模糊的视野，只能清楚地看到一个事物，所以意志只能不完全地朝着不同的对象努力，并且一次只能完全地爱一个人。”无法清晰地看见真实的生活，于是在第二天早晨醒来时，又走在这条街上，又一次面对同样的疲惫和寒意，又一次走向更深的夜晚。

如此循环，生活就像那沉醉在酒吧里的男人和女人一样，“真的很难喝更多。”这是麻木的世界，这是激情丧失的生活，这是缺乏自由的封闭现实，在居伊·德波看来，他们丧失了“主观的深刻性”，但是悲剧并不是他们靠着自己的意志来摆脱这样的生活，而是用虚幻来消费时间，消费现实，消费激情，甚至消费自己，就像那块肥皂，看起来光滑，看起来洁白，看起来无限诱人，只不过是女人拿在手里的产品。

人也成为一种产品，没有主观深刻性，就只能成为一个异化的物，只能被社会所消费，他们说：“我们的生活是一个旅程。”却总是不想破坏这个旅程；他们说：“我们寻求我们的通行证……”却总是被禁锢在产品的现实里；他们说：“没有人指望未来。”但是自己却把未来抹除了。但不仅仅是他们自己，这个社区，这个城市，这个社会，一样带入了消费的现实，一样制造了虚幻的生活，这便是居伊·德波所说的“系统”：“所有的娱乐和活动都受到系统的质疑。”于是所谓的幸福观念被全面批判，并且以实际行动来蔑视这些人的“主观的深刻性”：他们被允许游戏，但是游戏的地域局限性比时间的限制更显著，“任何游戏都发生在其空间域的轮廓内，在邻近地区，围绕着它那短暂的、威胁不动的地方，延伸着一座半为人知的城市，人们只是偶然相遇，永远迷失了方向。”他们失去了自由，在一个封闭的圈子里练习自由，而且女孩子被禁锢在18岁这个年龄里，在之前他们受到家庭的合法性控制，“她们经常被那个可憎机构的捍卫者重新抓获。”她们只是在“最令人厌恶的那些动物保护者之下”生活；他们处在经济的边缘，他们被政治所遗忘，他们被技术控制……而所有这一切，使他们成为被消费的人，于是这个时代就成为居伊·德波所说的“混乱的总体”。

这便是他所批判的景观社会，个人只不过是社会的镜像，只不过是“社会功能原子化”的牺牲品，只不过是产品消费的一种沉沦，“艺术的衰落和旧道德价值观的形成，形成了我们的社会学背景。”当他们用商品经济观念来谴责审美活动，当他们用野心和权力来隔离日常生活，当他们取消了个体的自由和主观深刻性，实际上他们就是统治阶级。所以从镜头下的“微型社区”来观察，需要的是突围，是解放，甚至是革命。

但是，居伊·德波并不要求以个人的方式来激发政治热情，“经验事实的知识，只要不是通过整合到整体中来具体化的，即仅仅允许部分和抽象问题的叠加，从而得出它们的具体本质，并隐含它们的含义，它就仍然是抽象和肤浅的。”在他看来，首先是通过矛盾看见景观社会的种种问题，“正如一个人不能根据他自己的观念来判断一个人一样，一个人也不能根据自己的意识来判断这种转变的时期；相反，一个人必须通过物质生活的矛盾，通过社会环境的冲突来解释这种意识。”而在这个基础上，以整体性来对抗整体性，去除经验主义，去除个人主义，“人是创造世界统一的人，但人却把自己扩展到了世界各地。人们在他们周围什么也看不到，不是他们自己的形象；一切都是他们自己的。他们的风景很生动。”

那一帧照片里的人是静态的，是平面的，但是镜头却让他们活了过来，他们在酒吧里，喝着酒抽着烟，讨论着话题，眼光中即使有迷离，也会成为一种解构和革命的力量，因为一切必须结束了，因为一切必须开始了，“无产阶级专政是一场绝望的斗争，血腥的、无血的、暴力的和平的、军事的、经济的、教育的和行政的，反对旧世界的势力和传统。”他们游行，他们示威，他们巷战，他们结合成整体，“在这个国家，再一次反抗的是秩序的人。他们增强了他们的力量。”而这何尝不是真实现实？何尝不是日常生活？“谁害怕生命，害怕黑夜，害怕被带走，害怕被保存？”

短时间内某几个人的经过，其实是一种意识，一种行动，一种从小众开始的浪潮，而在这不是电影却是纪录片的画面中，那些文学家光顾的酒吧成为一个革命的中心，他们在那里发起了情境主义运动，而这种运动就是和曾经的现实“分居”，就是摧毁景观社会，就是废除混乱的总体，就是抹除虚幻的生活，就是打破消费产品，“电影也必须被销毁。”——“唯一有趣的冒险是解放日常生活，不仅从历史的角度看，而且从我们和现在来看。”

时间是日常生活的时间，自由是日常生活的自由，艺术是日常生活的艺术，革命当然也是日常生活的革命，而一部纪录片就是日常生活的影像记录，它不是电影，不是产品，不为了消费：短时间内某几个人的经过，它构成了生动的画面，没有肥皂，没有明星，没有虚幻，因为这正是“已经做过的和还有待做的事情。”