"Before I explain, let's start with another question. Why tragedy is always more resonant than comedy; why classic comedies - such as Chaplin's works - are mostly laughter and tears; why Nietzsche's Tragedy The Birth of Aesthetics will become a must-read for the study of aesthetics.
I do not intend to make too many statements about this great book here, after all, there are many scholars who are more professional than me who are studying it. Returning to the previous topic, in popular terms, tragedy is to tear up beautiful things and show you regrets.
A person's short life is full of various regrets, big and small, so tragedy is more immersive and more likely to resonate.
And if we dig further, we will find that the pursuit of tragedy has penetrated into the bone marrow of human beings tens of thousands of years ago. Think of such a scene. Ancient humans were chasing their prey while running, but were killed by the mad prey and then fled. Seeing that today's food is no longer available, the clan may starve or even die because of this. How will they feel at this time? If at this time, the crazy prey was caught by them because of some unexpected breath, and suddenly there was food again today, how would they feel
Faced with this situation of not knowing whether we can survive tomorrow, the fear of the unknown has been completely engraved into everyone's genetic fragments in the eternal evolution. Human beings can burst into great energy because of this fear, or they can slide into the abyss of pessimism because of this fear. This is one of the reasons why most of the classic literary and artistic works are tragic.
Well, let's stop this topic and come back to my first argument. Now everyone should understand why I say that this is the product of loneliness and boredom. If Shakespeare had been worrying about tomorrow's life all day since he was born, would he still have the time and energy to create? Will there be sparks of thought
Human beings are destined to start thinking about things such as the truth of the universe only when they have no worries about the most basic necessities of life. The poor farmers in the Middle Ages may have some resonance in their hearts after seeing these literary and artistic works, but they still pick up sickles instead of quills when they go home.
While there is much more to discuss on this topic, here I will address only one of those factors. In short, people will only consider their spiritual needs after they have met their basic material needs. At this time, worries and fears about the future will arise instinctively, and naturally they will be more attracted to tragedies, especially those in classical dramas. A work that strictly adheres to the boundaries between tragedy and comedy.
That's why I say that tragedy is the product of people's emptiness and loneliness, and even a little extreme, it can be said that the so-called art and even the entire human society developed on this basis.
Saying so much is not to deny anything, it is actually the inevitable result of human development. "
— "A Little Fallacy About Tragedy and Art" by Angela Mason.
"It's indeed a fallacy. This is the most inexplicable opinion I've ever seen." Natalie pinched the school's internal newspaper with her fingers and shook it, "You even voted for the school's newspaper."
"You know why, Nat." Angela put her feet on the coffee table without any image, and bent over and hunched over the screen of the notebook intently, her slender fingers tapping on the keyboard.
Natalie raised the corner of her mouth and asked with a sigh, "So, how does Professor Gao Wen evaluate your opinion?"
"Hey..." Angela raised her head and recalled carefully, "he said that my opinion was full of strong personal flavor, although it was novel but too biased - hell, everyone knows that if you want him to be satisfied, don't say something shocking. It's absolutely impossible, so I think what he meant by that might be that the view wasn't biased enough."
"If you continue to be biased, your manuscript will not appear in the newspapers, and your credits will be lost." Natalie looked at her and shook her head, "I am now very curious to know if it is reprinted outside, it will cause problems again. What kind of discussion."
"It's all a bit of a fallacy. Could it be that someone would see this and attack me?" Angela shrugged needlessly.
"The problem is your identity, dear quasi-master director." Natalie rolled her eyes at her, "There are not a few people who want to find a chance to completely refute you in some aspects, and now it's like giving them an excellent excuse."
"Unfortunately, the quasi-master director you mentioned is busy with her university studies at the moment, and she may not graduate if she is not careful, so they don't need to make excuses." Angela smiled at Natalie and winked blink.
Then she stopped what she was doing, and said calmly, "It's not like you don't know that journalists are best at taking things out of context. Besides, even if I write a decent paper, it's very easy to be picky."
"It's just that your article is too..." Natalie made a gesture with a wry smile.
"Yes, the topic is empty and logically confusing and unstructured," Angela admitted with a nod, "but this is a manuscript for a newspaper, not a paper, and I don't have time to go into too much detail. If I do, I promise. It's not a problem to write a dozen pages of standard letterhead. So I'm just stating my opinion, which you have to admit, there is some truth to it."
Having said that, she rolled her eyes, as if remembering something: "It would be wonderful if I wrote this in my graduation thesis."
"Do you think this is possible, Miss Genius?" Natalie stabbed her slightly, then pointed to her computer screen: "I think you should settle the matter in front of you first."
"Oh, damn, why is my mentor Garvey Gawain?" Angela suddenly began to sigh again. After typing a few words, scratching her head and looking at the time, she simply closed the notebook: "Forget it, I'd better go to the studio first, I had a few good ideas, but you messed it up and finished them all. Gone."
"It's here again, problems will only be pushed to others." Natalie curled her lips and hummed softly, but in exchange for Angela's kiss on the corner of her mouth: "Okay, dear, make me happy down."
Natalie shook her head helplessly, helped her pack up Dongzai, and took her to the door before hesitatingly said, "Angie, will you go back to New York this weekend?"
"It depends on the situation," Angela shrugged. "Although I have already made some post-editing edits of A Beautiful Mind via satellite phone when I was in New Zealand, the efficiency is definitely not as efficient as face-to-face communication. So I have to make sure that at the end of the month, At least two-thirds of the way through Thanksgiving—anything?"
"No, it's nothing, I'm just asking." The disappointment in Natalie's eyes was fleeting.
"Really just asking?" Angela suddenly showed a mocking smile. "You really don't plan to say: Oh, Angie, I'm going back to New York for a stage performance this weekend. Would you like to come and watch it?"
"You know?" Natalie couldn't help raising her eyebrows, with surprise and surprise in her eyes.
"I'm not a fool," Angela smiled and touched her forehead, "don't forget, I listened to it for a long time in the library that day. Well, Mike Nichols directed, and Meryl S. Great actors like Tripp and Kevin Kline, no wonder you're next. And I heard it's very popular, so I asked a lot of people to get tickets this weekend."
Looking at the other party's hippie smile, Natalie couldn't help but burst into laughter, she certainly knew what was under that camouflage: "I think, if I didn't ask you now, I would definitely be on Broadway on weekends. Got a big surprise backstage in the dressing room."
"Yes, what a pity." Angela sighed exaggeratedly.
"But you can still choose to pretend you don't know anything, and then make the surprise bigger on the weekend." Natalie asked, pushing the backpack into her arms and looking her in the eye.
"Of course, the problem is that if I do this, no one will be happy from now until the weekend," Angela smiled softly with the corners of her mouth raised, "Only a fool would let other times be for the sake of accumulating happiness. become unhappy."
Natalie didn't speak anymore, just held Angela's face and kissed her on the lips gently. Angela smiled and kissed back, and after a little lingering, she said goodbye and left.
Straight out of the dormitory building, Bucket had parked his car outside for a long time. Angela, as always, got into the car with the surrounding eyes, and let the bodyguards start out of Cambridge City, and then the paparazzi who were guarding outside in twos and threes followed as usual.
"Are you going to get rid of them, miss?" asked Buckett, who was driving, looking in the rearview mirror.
"No, they all know where I'm going anyway. And..." Angela curled her lips, "sometimes it's necessary to make some movie news for them properly, so as to reduce the propaganda cost appropriately - hell, Ed from After tasting the sweetness in "The Pianist", it started to get out of hand, what does he think of me? A free publicity tool?"
Although she kept complaining in the back, the two bodyguards in front kept their mouths shut, and they all knew what they were doing. The car quickly arrived at the destination, which is quite a coincidence. The studio rented in Boston is the same office building every time. In the past three years, I have basically been familiar with the people in the building, and Ed also jokingly asked Angela if he should just get a branch here.
After taking the elevator to the studio, the girl walked into her office while greeting the employees. Just sat down on the chair, glanced at the classified documents and materials on the desk, and pushed in the door alone.
"This is the score faxed by Mr. Ennio Morricone," Alizee handed the document in her hand to her, "In addition, the schedule and the planned timetable are put together, you can compare them. "
"Thank you, Lily." Angela smiled and nodded, while sighing in her heart.