文頭是以西語系墨西哥「所謂激進左派」Frida Kahlo 故事拍攝的電影《揮灑烈愛(Frida)》裡,最愛的片段。當時,是二○○三年布城夏天,那天的劇院不是 Watershed 而是 Arnolfini 。自此,Frida 比大學時崇仰的美國 Georgia O'Keeffe(更別說只是看了舒服的清粥小菜法國 Georges-Pierre Seurat)更影響著沒強烈獨特自我性格的,自己。
片段其中背景女伶低唱 Flamingo 風格歌曲,似是訴說旅人異地相遇相戀,互相療慰鄉愁的方式就是來段 Tango 之後在不見光的藍色壁龛調情爾爾...(原諒我拙劣的西文翻譯):
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Alcoba Azul
La noche ira sin prisa de nostalgia Habrá de ser un tango nuestra herida Un acordeón sangriento nuestas almas Seremos esta noche todo el día
Vuelve a mí Ámame sin luz En nuestra alcoba azul Donde no hubo sol para nosotros
Ciégame Mata mi corazón En nuestra alcoba azul Mi Amor |
再追上 Frida 過世那年出生的國際電影配樂大師 Elliot Goldenthal 因這部片得奧斯卡金獎的另外兩首作品之一《哭泣的人兒(La Llorona)》(記得也是因此,迷上了常是簡單吉他伴奏清唱的葡式 Fado...那激情淒美的滄桑美好)。
傳言是 Frida 和她大象(或青蛙)王子 Diego 當時愛聽的,歌詞似說兩人相愛的不可能,因大家說著黑暗的負面話語,但其中一人還是將生命給了對方,對方需要這情愛嗎...(再次原諒我拙劣的西文翻譯):
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La Llorona
Todos me dicen el negro, Llorona Negro pero cariñoso. Todos me dicen el negro, Llorona Negro pero cariñoso. Yo soy como el chile verde, Llorona Picante pero sabroso. Yo soy como el chile verde, Llorona Picante pero sabroso
Ay de mí, Llorona Llorona, Llorona, llévame al río Tápame con tu rebozo, Llorona Porque me muero de frió
Si porque te quiero quieres, Llorona Quieres que te quieres más Si ya te he dado la vida, Llorona ¿Qué mas quieres? ¿Quieres más?
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作品之二《盡情過日子(Viva la Vida)》-哈,翻得好差啊-網路上翻作「輝煌人生」之類?歌詞似說是陰影悲傷都過去,夢想會繼續延續,我的愛人,快樂才是最重要,來杯月光萃取的龍舌蘭酒...(最後一次原諒我拙劣的西文翻譯):
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Viva la vida
Viva la vida Que ayer que ayer Se fue
Vivan las sombras De mis voces Llorando lejos
Vivan los sueños Que nunca despertaron Mi amor
Felicidad ¿Qué importa ya? Si canto a la luz de tu sombra
Viva la vida Que ayer que ayer Se fue
Vivan las noches De tus voces Durmiendo lejos
Vivan los sueños Que nunca despertaron Mi amor
Felicidad, Felicidad Tomando el mescal de la luna
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這《盡情過日子(Viva la Vida)》其實是幅 Frida 過世前讓我覺得很跳慟(tone)的畫作,順手把她過去令人眩暈心慕的畫作品也依年(晚近至先早)貼上:
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Viva la Vida, 1954, Frida Kahlo Museum, Mexico City
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Marxism Will Give Health to the Sick, 1954, Frida Kahlo Museum, Mexico City
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The Love Embrace of the Universe, the Earth (Mexico), Me, Diego, and Mr. Xolotl, 1949, Collection Jorge Contreras Chacel, Mexico City
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Tree of Hope, 1946, Isadore Ducasse Fine Arts, New York
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The Broken Column, 1944, Collection Dolores Olmedo Foundation, Mexico City
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Self-Portrait with Cropped Hair, 1940, Museum of Modern Art, New York
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Self-Portrait as a Tehuana,1943, Gelman Collection, Mexico City
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The Two Fridas, 1939, Museo de Arte Moderno, Mexico City
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What the Water Gave Me, 1938, Isadore Ducasse Fine Arts, New York
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Four Inhabitants of Mexico, 1938, Private collection, California
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A Few Little Nips, 1935, Collection Dolores Olmedo Foundation, Mexico City
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My Dress Hangs There or New York, 1933, Collected by ?
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Henry Ford Hospital (The Flying Bed), 1932, Collection Dolores Olmedo Foundation, Mexico City
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Frida Kahlo and Diego Rivera, 1931, San Francisco Museum of Modern Art
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對了,貼了半天,其實是久違的 Coldplay 新作《Viva la Vida》又讓人憶起了 Frida 且又燃起了長久以來想去她在墨西哥市故居「藍房子(Casa Azul)」(現在是Museo Frida Kahlo-芙烈達卡蘿博物館)還有收藏有《The Two Fridas》的墨西哥市現代美術館(Museo de Arte Moderno)朝聖的衝動。
所以,文尾附上 MV,聽說在流行樂界,這首歌佳評如潮... (這篇有細細解說) 。不過,還是最愛他們的英式到不行的《Yellow》就是。
"I myself have never been able to find out precisely what feminism is: I only know that people call me a feminist whenever I express sentiments that differentiate me from a doormat." Rebecca West (pseudonym of Cecily Isabel Fairfield) (1892-1983), English novelist. "One distressing thing is the way men react to women who assert their equality: their ultimate weapon is to call them unfeminine. They think she is anti-male; they even whisper that she's probably a lesbian." Shirley Chisholm, (1924-), American, member of the US House of Representatives. "In my heart, I think a woman has two choices: either she's a feminist or a masochist." Gloria Steinhem (1934-), American feminist writer. "A feminist is anyone who recognizes the equality and full humanity of women and men." Gloria Steinhem. "Any student of women painters therefore finds that he [sic] is actually studying the female relatives of male artists . . . Women artists before the nineteenth century seldom expressed their own creativity: they adopted modes of self-expression first forged by integrated, self-regulating (male) genius, most often when they were already weakened by eclecticism and imitation . . . Until the nineteenth century liberation from the overwhelming and ubiquitous artist father would also have meant the cessation of all technical training." Germaine Greer (1939-), Australian-American author. The Obstacle Race: the fortunes of women painters and their work (1979). "Feminist art is not some tiny creek running off the great river of real art. It is not some crack in an otherwise flawless stone. It is, quite spectacularly I think, art which is not based on the subjugation of one half of the species. It is art which will take the great human themes — love, death, heroism, suffering, history itself — and render them fully human. It may also, although our imaginations are so mutilated now that we are incapable of the ambition, introduce a new theme, one as great and rich as those others — should we call it 'joy'?" Andrea Dworkin (1946-), American feminist critic, "Feminism, Art, and My Mother Sylvia," in a speech, April 16, 1974, at Smith College, Northampton, Mass; published in Our Blood, chapter 1, 1976. "A natural response is to change the word feminist to a word with fewer stigmas attached. But inevitably the same thing will happen to that magical word. Part of the radical connotation of feminism is not due to the word, but to the action. The act of a woman standing up for herself is radical, whether she calls herself a feminist or not." Paula Kamen (1968-), American journalist, feminist author and playwright. "Feminism is the radical notion that women are people." Paula Treichler (contemporary), feminist scholar.