四个女人的故事

戏剧表演课上，同住一个宿舍的四个女学生正在排练马里沃的戏剧《移情别恋》。从某一天起，一个神秘奇怪的男人闯入了她们的生活，他声称与她们的另一个同学塞西尔的男友安东尼相识，他告诉她们安东尼牵扯到一起犯罪事件，让她们保持警惕。当她们与这个男人的交往越来越密切，对他有了更多的了解，她们发现他的存在已经对自己的生活和情感造成了巨大的影响，她们不得不想办法除掉他……影片入选1989年《电影手册》十佳。

这部电影比较长，将近三个小时，节奏相对缓慢。其中穿插着许多戏剧排练的场景，人物要经常从现实状态切换到戏剧表演状态，她们所表演的戏剧与现实中的故事没有什么关联，但是到后面我们会发现两者并非完全是互不干扰的，她们的课程会因为现实中的种种因素受到影响，而戏剧也会在某种程度上为她们提供行动的力量和精神的慰藉，让她们更有勇气去处理生活中遇到的麻烦。

字幕根据英文字幕翻译，比较难翻译的地方是她们排演时的对白，这里附上来源网络的《移情别恋》的故事简介，以便更好理解她们排演的内容。

王子（Le Prince）狩猎时偶遇了美丽纯朴的女孩希雅（Silvia），对她一见钟情，便派人将她掳到了王宫。王子迟迟不露面，派王宫近侍特弗朗（Trivelin）出面游说希雅。不知内情的希雅其实已有了心上人——同村的阿尔勘（Arlequin）。王子仆人之女丽雅（Flaminia）自告奋勇派妹妹丽赛特（Lisette）讨好阿尔勘，拆散两人。谁知阿尔勘对丽赛特不屑一顾，反而和温柔大方的丽雅成了好朋友，对她言听计从。随后，王子与阿尔勘开怀畅谈，解开了心结，让阿尔勘醒悟了与希雅青梅竹马的感情与爱无关。（人名翻译与字幕不同）

原文链接：http://www.dvdbeaver.com/rivette/OK/threecircles.html

A first circle appears (or a segment of one). Let's call it A, since it is first to appear, though it never ceases throughout the film. This circle is an old theater, which serves as a school where some young women are rehearsing the roles they will play (Marivaux, Corneille, Racine) under the direction of Constance (Bulle Ogier). The difficult thing here is for the girls to express authentic feeling -- anger, love, despair -- with words that are not their own, but those of an author. This is the first sense of play:Roles. One of the girls, Cecile, has left a house in the suburbs to four other girls. She has gone to live elsewhere with the man she loves. The four girls will live together in the house, where they will experience the repercussions of their roles, as well as end-of the-day moods and personal postures, the effects of their private love affairs (to which they only allude), and their various attitudes toward one another. It is almost as if the girls had bounced off the wall of the theater to lead a life which they vaguely share in the house, where bits of their roles are carried over, but spread out in their own lives, with each girl minding her own business. You no longer have a succession of roles governed by a program, but rather a haphazard chain of attitudes and postures following several simultaneous stories that do not intersect. This is the second sense of play: theAttitudesandPosturesin their interconnected day-to-day lives. What ceaselessly inspires Rivette is both the group of four girls and their individuation: comic and tragic types, melancholy and sanguine types, graceful and clumsy types, and above all.LunarandSolartypes. This is the second circle, B, inside the first, since it partly depends on the first, by receiving its effects. But circle B distributes these effects in its own way, moving away from the theater only to return to it endlessly.

The four girls are pursued by a man whose identity is unclear -- a con-artist, a spy, a cop -- looking for Cecile's lover (probably a criminal). What's it all about? Stolen IDs, stolen art, arms trafficking, a judiciary scandal? The man is looking for the keys to a locked chest. He tries to seduce each of them in turn, and succeeds with one. The three other girls will try to kill him: the first will try theatrically; the second, coldly; and the third, impulsively. The third girl will in fact beat him to death with a cane. These three scenes are Rivette's greatest moments: absolutely beautiful. This is the third sense of play:Masks, in a political or police conspiracy that goes beyond us, which no one can escape, a kind of global conspiracy. This is the third circle, C, which has a complex relationship to the other two. It prolongs the second circle and is intimately intertwined with it, since it increasingly polarizes the girls' attitudes, providing them with a common measure as it casts its spell on them. But it also spreads out over the whole theater, covering it, perhaps uniting all the disparate pieces of an infinite repertoire. Constance, the director, seems to be an essential element in the conspiracy from the beginning. (Is there not a blank period in her life spanning several years? Does she ever leave the theater, where she hides Cecile's naughty boy, who is probably Constance's lover?) And what about the girls themselves? One girl has an American boyfriend with the same name as the cop; the other girl has the same name as her mysteriously missing sister; and the Portuguese girl, Lucia, who is the epitome of the Lunar type, all of a sudden finds the keys and possesses a painting which is probably real... In short, the three circles are interwoven, acting on one another, progressing through one another, and organizing one another without ever losing their mystery.

We are all rehearsing parts of which we are as yet unaware (our roles). We slip into characters which we do nor master (our attitudes and postures). We serve a conspiracy of which we are completely oblivious (our masks). This is Rivette's vision of the world, it is uniquely his own. Rivette needs theater for cinema to exist: the young girls' attitudes and postures constitute a theatricality of cinema which, measured against the theatricality of theater, contrasts with it and emerges as perfectly distinct from it. And if the political, judicial, and police conspiracies weighing on us are enough to show that the real world has become a bad movie, then it is cinema's job to give us a piece of reality, a piece of the world. Rivette's project -- a cinema that opposes its theatricality to that of theater, its reality to that of the world, which has become unreal -- rescues cinema from the theater and the conspiracies threatening to destroy it. If the three circles communicate, they do so in places which are Rivette's own, like the back of the theater, or the house in the suburbs. These are places where Nature does not live, bur has survived with a strange grace: the undeveloped parts of a suburb, a rural stretch of city street, or secluded corners and alleyways. Fashion magazines have managed to make perfect, frozen pictures of these places, but everyone forgot that these places came from Rivette, having been impregnated with his dream. In these places conspiracies are hatched, young girls live together, and schools are established. But it is also in these places that the dreamer can still seize the day and the night, the sun and the moon, likea great external Circle governing the other circles, dividing up their light and their shadow.

In a certain way, Rivette has never filmed anything else bur light and its lunar (Lucia) and solar (Constance) transformations. Lucia and Constance are not persons, but forces. Bur this duality cannot be divided into good and evil. Hence Rivette ventures into those places where Nature has survived to verify the state in which the lunar and the solar subsist. Rivette's cinema has always been close to the poetry of Gerard Nerval, as though Rivette were possessed by him. Like Nerval, Rivette tours the remains of a hallucinatory Ile-de-France, tells the story of his own Daughters of Fire, and vaguely feels the conspiracy of an indeterminable madness approaching. It is not a question of influence. Bur this encounter makes Rivette one of the most inspired auteurs in cinema, and one of its great poets.

Originally appeared inCahiers du Cinema, no. 416, February 1989. Reprinted inTwo Regimes of Madness(MIT Press, 2006): p. 355-8.

第一个镜头和第二个镜头是过场，用女学生从咖啡厅走出来去往剧场来带出第一场戏。

第一场：地点：剧场中；人物：表演系的女学生们和老师；事件：两个女学生在台上表演，老师点评，同时抽问下面的同学们。

拉片重点：

1.用一个看似偶然的跟拍女学生进入剧场，开始表演，马上进入主题“表演”，正所谓“人生如戏，戏如人生。”本场的每一个镜头时间也不短，镜头构图不停的左边拉出一人，画入和画出另外一人，也侧面说明了这种人生的偶然性及其必然性。

2.用一场教学直接带出了除开男主角之外的所有主要人物，包括老师和四名女学生。同时用不同人的不同态度表达了不同的性格，同时在换学生和黄裙女生搭戏的同时，戛然而止。因为导演不需要再给我们看同一场戏的不同表演了。展现了博尼泽和洛朗的剧本功力。

本场戏还没有结束，但是我不拉了，等着你们自己看