Name: 每個偉大故事的祕密武器--"宣洩 "詳解 (Every Great Story’s Secret Weapon — Catharsis Explained)
Uploaded: 2024-07-30T11:56:27.000Z
Duration: 16 min 21 s

基礎被動語態

A deep breath in is followed by a breath out.

In storytelling, the inhale is the build-up to the ultimate climax.

在講故事時，吸氣是最終高潮的鋪墊。

"- Great shot, kid. That was one in a million."

Why is this distinct narrative experience so important?

為什麼這種獨特的敘事體驗如此重要？

Before we get our sense of release, subscribe to StudioBinder and click the bell to stay updated on all our filmmaking videos.

在我們獲得釋放感之前，請訂閱 StudioBinder 並點擊鈴鐺，隨時瞭解我們所有電影製作視頻的更新。

Tragically, we will be spoiling the following movies.

不幸的是，我們將劇透以下幾部電影。

Catharsis is the purification or purging of emotions typically associated with a work of art.

所謂 "淨化"（Catharsis），通常是指與藝術作品相關的情感的淨化或純化。

It comes from the Greek word kathirein, which means to cleanse or purge.

它來自希臘語 kathirein，意思是清潔或淨化。

The term was popularized by the Greek philosopher Aristotle in his seminal work, Poetics.

希臘哲學家亞里士多德在其開創性著作《詩學》中推廣了這一術語。

The philosopher primarily examined catharsis in the context of tragedies where the plot must imitate actions arousing fear and pity.

這位哲學家主要是在悲劇的背景下研究宣洩的，在悲劇中，情節必須模仿引起恐懼和憐憫的行為。

To Aristotle, this expulsion of negative emotions brought on by catharsis would leave the audience feeling happier.

在亞里士多德看來，這種宣洩帶來的負面情緒的釋放會讓觀眾感覺更快樂。

This, argued the philosopher, is why tragedies were both important for society and popular among audiences.

這位哲學家認為，這就是為什麼悲劇既對社會重要，又受觀眾歡迎。

An ending may be extremely cathartic for one person and completely emotionless for someone else.

對一個人來說，結局可能是極度的宣洩，而對另一個人來說，結局可能是完全沒有感情的。

In this video, however, we'll focus on catharsis in narratives.

不過，在本視頻中，我們將重點討論敘事中的宣洩。

Today, narrative catharsis is widely understood as the release of emotions or emotional response to the end of any type of story.

如今，敘事宣洩被廣泛理解為任何類型的故事結束時的情緒釋放或情感反應。

Think of Sam and Annie finally meeting in Sleepless in Seattle.

想想在《西雅圖夜未眠》中，山姆和安妮終於見面了。

Or the emotional reunion of Jamal and Latika in Slumdog Millionaire.

或者是《貧民窟的百萬富翁》中賈馬爾和拉蒂卡的情感重聚。

But first, let's look at catharsis in its traditional context.

但首先，讓我們從傳統的角度來看看宣洩。

Aristotle outlines four ways that catharsis can be created in a tragedy.

亞里士多德概述了悲劇中產生宣洩的四種方式。

And completed or stopped at the final moment.

The philosopher argues that some of these four quadrants are better than others at eliciting catharsis.

這位哲學家認為，在這四個象限中，有些象限比其他象限更能引發宣洩。

The least effective, he argues, is when a character is acting knowingly and stops.

他認為，效果最差的情況是，角色在明知故犯的情況下停止行動。

In other words, the character is fully aware of their actions and the consequences.

換句話說，角色完全清楚自己的行為和後果。

But they end up not going through with it.

According to Aristotle, this is an idle threat and the audience reads it as such.

根據亞里士多德的觀點，這是一種空洞的威脅，觀眾也是這樣解讀的。

Go, Martin, please." "- Stand aside, Martin."

Ethan would rather kill his own niece Debbie than see her living as a Comanche.

伊桑寧願殺死自己的侄女黛比，也不願看到她過著科曼奇人的生活。

"- What do you mean you don't have any blood kin?

But at the last minute, he stops himself.

但在最後一刻，他還是停下了腳步。

The tragedy is avoided and the audience might feel relieved.

避免了悲劇的發生，觀眾也許會感到欣慰。

But this turn of events leaves little room for real catharsis.

但是，事態的發展並沒有給真正的宣洩留下多少空間。

When a character knows what they are doing is wrong but they do it anyway.

當角色明知自己的行為是錯誤的，但還是要去做。

Where Somerset tells Mills that he shouldn't shoot John Doe.

薩默塞特告訴米爾斯，他不應該向無名氏開槍。

This brings us to Aristotle's second best option.

這就引出了亞里士多德的第二個最佳選擇。

In this scenario, a character sees through an action unaware of the consequences until it's too late.

在這種情況下，角色會在不知道後果的情況下完成一項行動，直到為時已晚。

A cruel twist of fate and part of an even crueler act of revenge.

這是命運的殘酷轉折，也是更殘酷的復仇行動的一部分。

We are strongly encouraged to pity Desus which is the exact goal of true catharsis.

我們被強烈鼓勵去憐憫德蘇斯，這正是真正宣洩的目的。

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每個偉大故事的祕密武器--"宣洩 "詳解 (Every Great Story’s Secret Weapon — Catharsis Explained)

context

potentially

negative

typically