http://www.thecine-files.com/cate-blanchetts-deconstruction-of-performance-through-performance/
作者应该也是铁粉一枚,绝对专业粉摘一段:
Yet it would be misleading to suggest Blanchett’s attachment to these roles is based solely on the reflexivity of the characters; she also takes the director into account when selecting projects. As Keil notes, despite her prolificacy, Blanchett’s work with well-respected directors like Sally Potter, Martin Scorsese and Tom Tykwer suggests she is discerning when choosing filmmakers with whom to work.[31] I will now consider Blanchett’s agency in the chosen roles, a subjective task given that performance studies inherently involve ambiguity when determining which elements of the final product originated with the actor. Editing and sound recording techniques can radically alter the actor’s performance, as Carnicke explains when describing montage’s power to ‘‘redefine the relationship between director and actor from one of collaboration to one of authority and control.’’[32] Using the director as auteur approach risks taking credit away from the actor, so Carnicke loosely categorises directors into 1) those who view actors as collaborators and 2) those who consider actors ‘‘primarily as props to manipulate within the mise-en-scene.’’[33] Carnicke attempts the difficult task of measuring actors’ responses to different directors. Comparing Jack Nicholson’s use of voice and body in The Passenger(Michelangelo Antonioni, 1975) and The Shining (Stanley Kubrick, 1980), she concludes that he is highly flexible in his ability to adapt to differing direction styles.
作者应该也是铁粉一枚,绝对专业粉摘一段:
Yet it would be misleading to suggest Blanchett’s attachment to these roles is based solely on the reflexivity of the characters; she also takes the director into account when selecting projects. As Keil notes, despite her prolificacy, Blanchett’s work with well-respected directors like Sally Potter, Martin Scorsese and Tom Tykwer suggests she is discerning when choosing filmmakers with whom to work.[31] I will now consider Blanchett’s agency in the chosen roles, a subjective task given that performance studies inherently involve ambiguity when determining which elements of the final product originated with the actor. Editing and sound recording techniques can radically alter the actor’s performance, as Carnicke explains when describing montage’s power to ‘‘redefine the relationship between director and actor from one of collaboration to one of authority and control.’’[32] Using the director as auteur approach risks taking credit away from the actor, so Carnicke loosely categorises directors into 1) those who view actors as collaborators and 2) those who consider actors ‘‘primarily as props to manipulate within the mise-en-scene.’’[33] Carnicke attempts the difficult task of measuring actors’ responses to different directors. Comparing Jack Nicholson’s use of voice and body in The Passenger(Michelangelo Antonioni, 1975) and The Shining (Stanley Kubrick, 1980), she concludes that he is highly flexible in his ability to adapt to differing direction styles.