杨·史云梅耶给电影创作者的10条戒律
杨·史云梅耶-十戒律
1.
Remember there is only one form of ‚poetry‘. The opposite of poetry is professional expertise. Before you start making a film, writing a poem, painting a picture, create a collage, write a novel, essay etc. Only by cultivating your ability for universal expression will you ensure you will produce a good film.
「诗」 的形式只有一种，而与之相对的则是表达的技艺。在开始制作电影之前，创作一首诗歌，一幅绘画，一张拼贴图，一部小说又或是论文，等等。只有当普遍性的表达能力得到足够的陶冶时，你才能够保证自己制作出一部优秀的电影。
荒唐童话 Zvahlav aneb Saticky Slameného Huberta (1971)
2.
Surrender to your obsessions. There is nothing better. Obsessions are the relics of childhood. And the most precious treasures come from the depths of childhood. You need to always keep the gate to your childhood open. It is not about specific memories, it‘s about feelings. It‘s not about consciousness, it‘s about unconsciousness. Let the inner river flow freely through you. Concentrate on it but at the same time relax completely. When making your film, you need to be 24 hours submerged ‚in it‘. Only then will all your obsessions, your childhood, enter your film, without you being consciously aware of it. And your film will become the triumph of ‘infantilism‘. And that is what it‘s all about.
全身心投入到你所迷恋的吧，这是最好的办法了。这份痴迷是童年的沉淀，是埋藏于你内心深处的珍贵宝藏。通往童年的大门时需敞开。这与特定的记忆无关，是感觉；与意识无关，是潜意识。让内心的河流自由流淌，全神贯注同时顺其自然，在创作时，你必须完全浸入其中，也只有在此刻，那份痴迷和童年才会不知觉地与你的电影相融，让其获得童真般的胜利。这就是这一切的意义所在。
极乐同盟 Spiklenci slasti (1996)
3.
Use animation as a magical operation. Animation isn‘t about making inanimate objects move, it is about bringing them to life. Before you bring an object to life,try to understand it first. Not its utilitarian function, but its inner life. Objects, especially the old ones, were witnesses to certain happenings, people‘s actions, their fortunes, which somehow marked them. People touched them in different situations, while acting under various emotions, and they imprinted onto them these different mental states. If you want to disclose some of these hidden aspects of objects through your camera, you need to listen. Sometimes even for years. First you have to become a collector, and only then a filmmaker. Bringing objects to life through animation has to be a natural process. Life has to come from within them, and not from your whim. Never violate objects! Don‘t tell through them your own stories, tell theirs.
像施展魔法一般制作动画，它不是单纯的让本是静止的事物运动，而是赋予其生命，不过在这之前，你必须了先解事物的内在。事物，特别是以往的，见证过许多事情的发生，人们的活动以及他们的命运，而这一切又为它们刻上了印记。人们在不同的情况以各样的情绪与它们接触，揉捏进了不同的精神状态。如果你想把这些隐秘部分在镜头前展现出来，那么你需要聆听，有时甚至需要好几年，但你首先要成为一个收藏家，然后才是电影人。把事物用动画的方法赋予生命必须是一个有机的过程。这种生命必须来自事物本身，而不是你意念的冲动。永远不要违背事物！不要利用它们来说你的故事，要说它们的故事。
对话的维度 Možnosti dialogu (1982)
4.
Keep exchanging dreams for reality and vice versa. There are no logical transitions. There is only one tiny physical act that separates dreams from reality: opening or closing of your eyes. In daydreaming even that isn‘t necessary.
让梦与现实交融，它们之间没有逻辑的界限，存在的仅是一个及其细微的生理动作：张闭您的眼睛。在做白日梦时甚至没有此的必要。
爱丽丝 Neco z Alenky (1988)
5.
If you are trying to decide what is more important —the experience of the eye or the experience of the body; always trust the body, because touch is an older sense than sight and its experience is more fundamental. Apart from that, in our contemporary audiovisual civilization, the eye is rather tired and ‚spoilt‘. The experience of the body is more authentic, uninhabited by aestheticisation. But be aware of synaesthesis.
当你需要通过视觉或触觉来决定什么比较重要时，请相信你的身体吧。因为相对于视觉，触觉更为原始，其体验也更为本质，更何况我们的眼睛已经被眼花缭乱的现代媒体“宠爱”得疲惫不堪了。身体所感受到的是更为原始且内在的审美呈现。但也需要注意感官的联动。
肉之恋 Zamilované maso (1989)
6.
The deeper you enter into the fantastic story the more realistic you need to be in the detail. At that point you need to fully rely on your experience of dreams. Don‘t worry about being ‚boringly descriptive‘, pedantically obsessive about an ‚unimportant detail’,documentaristic. You need to convince the viewers that everything they are seeing in your film concerns them, that it is a part of their world too, and they are submerged in it to their ears, without realising it. You need to convince them about that, through all the tricks you possess.
越是深入的描绘一个奇幻的故事，越是要把握细节。此时你需要完全依赖梦的体验。别担心所谓的冗长描述，哪怕是那些不重要的细节，你都需倾尽全力，将之雕刻于你的影像之中，好让观看者身临其境，再去细说那些的声音，让它们不惊觉地渗透入他们的耳膜中去。
黑暗 光明 黑暗 Tma/Svetlo/Tma (1989)
7.
Imagination is subversive, because it puts the possible against the real. That‘s why you should always use your wildest imagination. Imagination is the biggest gift the humanity received. Imagination makes people human, not work. Imagination, imagination, imagination...
想象的能力可以颠覆现实，触发无限的可能性。这就是为什么你需时常天马行空。想象力是人类被赐予的最美妙的天赋。人之所以为人，倚靠的不是劳作，而是想象力，想象力，想象力……
花园 Zahrada (1968)
8.
Always pick themes that you feel ambivalent about. This ambivalence has to be strong (deep) enough so you can walk on its edge and not fall to either side or even both at the same time. Only by doing that you will be able to avoid the biggest sin: film à la these.
选择一个让您感到困扰的主题，且蕴藏在其中的矛盾是刻骨铭心的，以至于你可以在冲突锋线上独行，而不会青睐于一方，又或是模棱两可。这样你的作品才能避免触碰最大的禁忌：film à la these。（意识形态电影）
自然史 Historia Naturae, Suita (1967)
9.
Cultivate your creativity as a form of self therapy. Such an anti-aesthetic attitude brings creativity closer towards the gates to freedom. If there is at all any purpose in creativity it is that it liberates us. No film (painting, poem) can liberate a viewer unless it didn‘t liberate its author first. Everything else is a question of ‚common subjectivity‘. Creativity as a process of permanently liberating people.
把创作当作自我精神的愈疗，如此反美学的态度能让艺术更靠近自由之门。如果艺术有任何真谛，那便是自我的解放。电影（绘画、诗歌）必先要打动它们的作者，才有可能解放观众，至于结果，就留给世人评判吧。艺术创作是人们获得永久解放的一个过程。
棺材与天竺鼠 Rakvickarna (1966)
10.
Always put the continuity of your inner vision or psychological automatism before an idea. An idea, even the greatest one, shouldn‘t ever be a sole motivation for wanting to make a film. Creative process doesn‘t mean stumbling from one idea to the next. An idea becomes a part of a creative process only when you have found the theme that you want to express and you fully understand it. Only then will the right ideas emerge. An idea is a part of creative process, not an impulse for suddenly becoming creative. Never work, always improvise. Script is important for a producer, not for you. It‘s a non-binding document you should only return to when your imagination lets you down.
让你的内心意象又或是潜意识引导你吧，而不是所谓的概念。概念，即使是最有创意的，也不应该成为想要制作电影的唯一动机。艺术的创作过程并不是突发奇想，然后蹒跚徘徊于概念之中。概念应是艺术创作的一部分。当你寻觅到非说不可的主题并且彻底了解它时，最合适的创意概念便会自然浮现。切勿苦心经营，要即兴创作。剧本对制片人很重要，但对你而言，它不应是束缚，而是当你想象力枯竭时的一份参考文本。
最后把戏 Poslední trik pana Schwarcewalldea a pana Edgara (1964)
Although I have formulated this Decalogue on paper it doesn’t mean I consciously refer to it. These rules somehow emerged through my work, they didn‘t preceed it. Anyway, all the rules are there to be broken (not avoided). But there is one rule which, if broken (or even avoided), becomes destructive to the artist: Never subordinate your personal creativity to anything but freedom. (February 1999)
尽管纸上是我撰写的十条戒律，但不代表我会执意的引用它们。这些规则是从我的作品中衍生而来的，但毕竟是后知后觉的。不管如何，规则的存在就是用来被打破的（而不是逃避）。不过有一条规则，如果不遵循（甚至只是稍稍逃避），后果对所有艺术家都将会是灾难性的：永远别让你的艺术屈从于任何事物，除了自由。（二月 1999）
翻译：赵琪
杨·史云梅耶(Jan Svankmajer)，1934年9月4日出生于布拉格，学生时代钟情超现实主义艺术，学习欧洲传统木偶戏，并涉猎舞台、诗歌创作、电影等艺术范畴。史云梅耶在1964年制作了他的首部动画短片《最后伎俩》，并于1970年加入捷克超现实主义艺术团体。其作品不限形式和材料：面包、木头、陶器甚至演员也可被用作动画的材料与元素。代表作品有《贪吃树》(2000)、《极乐同盟》(1996)、《浮士德》(1994)、《食物》(1992) 、《波西米亚斯大林主义之死》(1990)、《生动的自画像》(1989) 等。