The Intern’s Weekly Report (Part 4)



当今社会中艺术无所不在。第四周的实习我体会到了隐形的艺术。剪接短片是艺术学院的基本课程,但学校的课程中学的是手段,在蔡工作室我学到的是利用工具排列出故事情节。剪接出一个容易理解并且画面精彩的短片本身就是艺术。每当看电影时我们常常会忽略每个镜头之间的联系,因为巧妙的手法,使我们忘记剪接的存在。影象,图片,音乐,谈话,节奏,悄悄地引导着观众从一个镜头走进令一个镜头。充满诱惑力的蒙太奇才能锁住观众的心。我通过剪接的机会摸索出了初步的窍门。作品四季之春的体型庞大,制作过程复杂,由16片木板组成,花了多余一天的时间制作。真的能把一天的每个步骤在5分钟内说完吗? 可以的。细节,是的,将一个画面带到另一个画面靠的是细心的观察,剪错的后果展现的是如闪电般不友好的影象。该柔的地方溶明,溶暗,该刚的地方节奏紧凑。这种排列组合式的隐形艺术不只出现在剪接中,也出现在翻译的世界里。
翻译者本身是一种工具,但这工具必须具有可塑性强的功能。面对不同的作家,不同的主题需要随机应变。换为思考将自己融入其中,但此刻又必须忘我才能达到隐身的境界,成功地为作者表达出真实的心声。Bonnie 和我无意中聊起了翻译的动机。收入并不厚实却又需要花大量时间的工作为什么有那么多乐于其中的翻译家?我们共同走向一个结论。借别人的嘴巴说话,借别人的人生体会。这不是模仿,不是肢体的艺术。这是拷贝,是复印。将一种文化中的声音复印到另一种文化中,最难的地方是读者接收到信息后的反映,感受必须符合作家最原始的目的。这时的翻译已经不是简单的语言,而成为了文化转换器。这个转换器必须由人来担任,因为机器不具备人类的应变能力。在翻译一篇巴西精神分析学家写的关于爆破的论文时我不知不觉地爱上了语言中的排列组合。不同的排列带来不同的感觉,巧妙地将原始语言的排列转换成目标语言的排列,其中会带给翻译人一种快感,就像突然解决出一道难以理解的数学题。在乐趣中慢慢摸索言语的公式,创造出自己的原则,体验别人的心声,同时又链接文化,帮助人们,这种种理由构成了翻译背后的发动机。

Invisible Art
Everything is art in modern society.  I experienced invisible art during my fourth week at Cai Studio. Video editing is a foundation course for design students at Parsons. I learned the tool, but never had a chance to put it in use until Cai Studio. The editing process itself is a form of art, it tells a story. Most of us neglect the relationship in between frames when we watch a movie, and that is due to the distinctive techniques of an editor.  Sequences, images, melody, voice, tempo all come together to lead us from one frame to another. Proactive montage is the only way to grasp the hearts of the audiences. Through the opportunity to edit short demo films on the making of certain artworks, I was able to explore the possibilities in video editing. Piecing together the story and process behind a 16-panel gunpowder drawing on the topic of four seasons. From start to finish, incorporating every step of the making process in five minutes. Is it really possible to fit an entire day into five minutes? Oh yes, and I found a trick! Paying tremendous attention to details is crucial in the process of editing. Cutting at the wrong place lead to a lighting effect when frames are combined.  The process is almost mathematical, permutations, combinations and factoring out the unnecessary. This system also exists in the world of translators.
A translator is a machine trapped in a human body, the machine can only survive in a human body. This is because good translations demand flexibility. It is necessary to alter one’s personality when facing different writers in order to be fully engaged with the work. It’s the only way to be invisible and successfully relocate the voice of a writer.  Bonnie and I shared a conversation on the objective of translators. It is time consuming, definitely not well paid, and sometimes not respected. Why do people do it? We came to the conclusion of having the advantage to borrow one’s voice and personality is what makes translation pleasurable. It’s not imitation, it’s duplication. Duplicating the voice to fit into another culture. It’s not as simple as converting words of languages. It’s becoming a converter for cultures. This converter can never be a machine, machines lack of flexibility and vitality of human beings. I fell in love with the permutations, combinations of words when translating an essay on explosion by a Brazilian psychoanalyst. Having the ability and freedom to create and solve your own equations in languages catered to voices is almost orgasmic.

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