About:安氏御用配乐大师Eleni Karaindrou

希腊的灵魂 希腊国土有三分之二都是山地丘陵，地理的起伏崚线，反应在饱经动荡战乱的男女身上，就像额头上那一道道时空的深切刻痕。 艾莲妮．卡兰德若(ELENI KARAINDROU)出生在希腊中部卢梅里山区中(Roumeli region of central Greece),，对外交通很不方便的泰吉欧村庄Teichio中出生成长，她的童年就被大自然的天籁所包围，她记忆里有：「风的高亢卑柔，雨打在石板屋顶，再汩汨奔流，还有雪的静音。」 希腊人到底有多爱唱歌，我们很难查考，世人都说希腊戏剧是世界戏剧的源头，而希腊戏剧，不论是悲剧或喜剧，都有一组「合唱团」角色，以歌声、朗诵及舞蹈串连剧情。 所以即使偏远如泰吉欧村庄，每逢节庆时，村庄父老自然会吹奏起笛萧同乐，轻扬的音乐声一个山谷接一个山谷回响着。 玉米收成的季节里，农村妇人彻底赶摘玉米，广场上，妇人手忙着摘剥玉米，嘴上则是以高频的嗓音唱着叠词多音的地方歌谣；卡兰德若就和其他的小孩子们一起躺在广场上，听着妈妈们的歌，数着天上的星星。教堂里经常颂唱着拜占庭风味的圣诗，祭司带头吟诵，男声持续相和。 八岁那年，卡兰德若举家搬到了雅典，她才开始发现世界上有汽车、有电，有收音机，还有电影和钢琴。更巧的是，她的新家旁边就是一家露天电影院，不必出门，站在窗台边，她就可以一部电影接着一部看，只是比别人更方便的是，别人只是看着电影，她却可以边看电影，边弹着琴，就在电影和钢琴之间，她不但找到了生命中真正可以燃烧的激情，也看到命运之神的巧妙安排。 天生有音乐细胞的卡兰德若，头一回坐上琴椅，就可以在琴键上自在地即兴创作，她虽然在雅典的希腊音乐学校学了十四年的钢琴和音乐理论，但是在作曲方面却是无师自通，浑然天成的。学生时代，她就写过不少流行歌曲，「因为旋律很自然就会找上我来」，但是她并没有因此投身商业世界。 一九六七年，希腊军人夺权成功，卡兰德若被迫带着儿子移居到巴黎，在法国政府的奖助下，她开始研究民族音乐学，也因为知识的累积，对于童年的音乐印像就变得越来越重要了。同样地，在巴黎的时刻，她也开始接触吸收爵士乐的精华，不论是地方民谣 或是爵士乐，同样都带给了娴熟古典音乐的卡兰德若新鲜的引领和刺激。 重回雅典之后，她在ＯＲＡ文化中心创设了传统乐器工作坊，也在第三电台负责民族音乐部门，从此她开始大量地创作乐曲，她形容自己的创作是：「我认识了自己的世界，我靠着自己的感受去创作乐曲，抛开了定型的意识型态和成见。」 不少现代剧场的剧作家请她谱写音乐，但是她也试着古典喜剧大师亚里士多芬尼的新编剧作作曲，她本来就有历史和考古学的硕士学位，后来又研究了民族音乐学，再加上电台的工作，投身于古典器乐和口语歌谣的保存和研究其实是相当自然的转变，她在自己的作品里经常使用一种类似扬琴的山多利琴和木萧做主乐器，其实就反应着希腊的音乐传统。 不过，她对于古典器乐的使用是别具只眼，她希望以非传统方式来使用传统乐器，「山多利琴可以取代钢琴，钢琴也可以取代山多利琴。我不会把自己的概念和民俗音乐杂混一起，古典乐器的乐声在我脑中响了一辈子，它们的色彩和声音是值得表现的，我想像些什么，我就用乐声来画下来，做为一位作曲家，和做一位古典器乐的爱好者，是两股不同的脉流，有一回，我试着想把他们合而为一，我遇见了一位天才型的吉普赛笛子即兴演奏高手，我想把他带到我的音乐里面，花了四天四夜时间，他怎么也吹不好我写的曲子，我懊恼极了，好像把一只美丽的小鸟关进了鸟笼之中，他吹自己的曲子是多么的优美自在，我就告诉自己：『下次，再不犯再这种错了。』」 1977年，她第一次听到挪威萨克斯风手杨．贾巴利克灌录的唱片「所在」，突然就有一股非常熟悉的感觉，「好像有一种很贴近，很贴近我的国家的感觉。有很浓郁的巴尔干风味，后来，等到我替电影『养蜂人』谱写音乐的时候，我就知道只有杨能够吹出这种色彩。」她曾自称是精神上四海为家的人，因为各种动听的音乐都能引起她的共鸣。 1979年，她替导演克利斯多菲的电影「流浪」创作了电影音乐，一开始，她并不确定自己的音乐是不是补强了电影的音乐震撼和创作完整，但是克里斯多菲是位知名诗人，他的电影就极富诗意，他强调「自己的回忆和影像创作基本上就是被音乐的慢板旋律给统制的」，她则是顺着故事题材和摄影镜位的移动，凭着直觉来做曲，等到影片完成之后，她才发现自己和电影的互动关系是一种非常个人化的接触方式。「那是个新的开始，『流浪』带领我进入了一个新世界，合作过的导演都给我极大的自由，他们的影像也诱导着我激发出内心最深的感觉。」 卡兰德若也替导演桑卓普洛斯(Xanthopoulos)的「同志，返乡快乐」(Happy Homecoming, Comrade)谱写音乐。 桑卓普洛斯的摄影机就像海潮一样自由自在地潮起潮落，起伏波动，主题则是带有暗喻色彩的惊栗故事，电影中有一首主题歌「罗莎之歌」，就是卡兰德若自己灌唱的，配合着夕阳时分的玫瑰色温天气，以及海潮的近景特写，配合了诗意歌词，呈现了优雅又另类的音乐气质，歌词如下： 我名叫罗莎， 我是灵魂之歌， 飘荡在屋顶， 随风摇摆； 我曾试着改变世界， 最后变成一首歌来保全这个梦。 哀怨的女声吟唱，柔美的旋律，不但成就了让人难忘的音乐篇章，也就是因为这首歌，促成了希腊名导演安哲罗普洛斯的合作机缘。 卡兰德若Vs.安哲罗普洛斯\n 希腊的剧场上有过亚里士多德，也有亚士奇里斯，但是希腊电影的代表人物就叫做安哲罗普洛斯。一九九五年，他的「尤里西斯生命方之旅」得到坎城影展评审团大奖，一九九八年，他以「永恒的一天」得到坎城金棕榈奖。十六年来，他的电影被誉为是希腊史诗电影，史诗的韵律曲乐都出自女音乐家艾莲妮．卡兰德若的心灵。 安哲罗普洛斯是希腊最重要的导演之一，他也是政治犯的儿子，童年时几乎不记得父亲长成什么样子，不知道经常发出政治异声爸爸被囚禁在那里，甚至还曾经跟着妈妈去刑场认尸。但是有一天，父亲却意外被释放回家。 安哲罗普洛斯常常喜欢说：「历史并没有死去，只是打盹了一回儿。」家国的动乱，人民的悲情，他比一般人有更早慧，也更深沈的体悟，长镜头远拍的山河岁月和痴情男女额头上的年轮刻痕，传达着他对红尘扰攘的悲悯和叹喂，不管他的镜头是静止，或是旋转，一格格的底片中，他的长期音乐伙伴卡兰德若总是会渗透进一股哀伤的曲音，先是膨胀浮现，再滚滚翻腾，让铁石心肠的人也泪湿衣衫，最后让人没顶。 1982年、安哲罗普洛斯担任铁撒隆尼迦影展的主席，那次影展，「罗莎之歌」获得最佳电影音乐奖，安哲罗普洛斯颁奖给卡兰德若时，当面邀她合作新片。他们长达十六年的友伙伴情谊就此展开，卡兰德若总是第一位就可以参与安哲罗普洛斯新片筹备，然后一直陪伴着他，一遍又一遍地修改音乐，直到影片最后完成的工作伙伴。 「大多数的时候，我们都是从电影还只有一个概念，剧本还不知道在那里的时候开始，」卡兰德若说：「安哲罗普洛斯是个很重感觉，却很少说话的人。所以，明白他的作品的思想根源，就是我很重要的工作，因为我要帮助他传达出那种言语无法容的感觉。有时候，剧本才刚写好，我的主旋律也完成了。」 对于卡兰德若而言，电影配乐应该就是影片中的主要元素，因此她要求从故事大纲开始，就要和导演共同讨论剧情，一起完成电影。希腊作家Nikos Triantafillides曾经这样评论卡兰德若的音乐成就：「在全长数百尺的影片中，卡兰德若的音乐呈现出银幕中未泛出的鲜血，她一贯的音乐表现，将深藏于语言中的精神召唤出来。」 卡兰德若说：「我和摄影机移动方式的关系，基本上，比我和剧本的关系要重要得多。当然，电影音乐的功能是要来强化剧情，但是电影的意义，往往从剧本上是很难看得出来的。影像和音乐的结合可以传达出一种语言无法表达的情境。很多时候，你读剧本的时候，好像什么也没有，就像「法国中辱的女人」编剧哈洛品特说的：真正的意义是在言语之外的。我试图用被剧本、场景、演员和剪接所激发出来的音乐，来达到一种和剧情对位的效果。我要寻找的是一种内在的旋律：我虽然说不清楚怎么回事，但是我很确定，我是被安哲罗普洛斯连续镜头的内在运动给打动的。到了剪接台上，这些影像更加强了我该如何处理音乐的色彩和律动。」 例如在《雾中风景》中，随着剧情的铺陈，音乐也着流动，即使是无声的场景，仍似有音乐粒子回荡在空中，一场小女孩被卡车司机强暴的场景，卡车停在公路旁的空地，卡车司机欲求不满发泄在小女孩身上，来往的车辆呼啸而过，留下刺耳的噪音，小女孩的童贞无声的、残暴的被这个社会夺走了，没有哀歌、也没有惊悚片中不谐和音的挣扎，后工业时代的冷漠早已强暴了这个社会残存的一点点理想与善意。无声是代表着对着个社会可能存在的一点点理想与善意的绝望。 之后小姊弟与年轻人重逢，流浪的主题再度响起，一种戚怆的满足感，彷佛是历尽沧桑的一丝慰藉。年轻人拉着女孩的手跳舞时，原本以摇滚乐为背景的场景突然被哀歌打断，预示了女孩下一步的动作：她跑着离开年轻人，静静的蹲在沙滩用手刻画着潮来潮往的湿沙地，若有所思。这一段音乐与画面的非同步处理，使我们预知了女孩情绪的转变。 卡兰德若内敛而极富感染力的音符大多取自希腊的民间音乐素材，精致而毫不做作的配器使这些富于表现力的巴尔干民谣曲风更加凝重含蓄而深具穿透力，淡淡的悲情、舒畅的节奏，没有太多的感情渲染却洋溢四射悲剧力量，就像安哲罗普洛斯的电影中强烈附载了希腊近代史上的沈重悲剧。卡兰德若用她的音符刻画着灵魂深处中的希腊天空、海洋和大地的气息。“希腊”对她而言不只是一个外在的符号和身份标志，而是内在与生俱来的气质。 在卡兰德若出版的「雾中风景」原声带中，有一本厚厚的前言书，详细介绍着卡兰德若的创作沿革和作品风貌，是世人认识这位希腊音乐精灵的最完整资料，在这本前言中，她特别选用了一首诗做终结，也可以让我们窥见她的灵魂深处： 你在水边恸哭，低吟着悲歌苦调。 海岸边的悲哭海豚，也不如你凄凉； 灰蓝海面上的海鸟呻吟，也没有你悲凉。 ─西元前二世纪的希腊田园诗人莫斯秋思 慢板和哀歌，构成了卡兰德若音乐的基调，希腊的乐评家曾经形容说：「卡兰德若给了我们梦想的机会。」安哲罗普洛斯的电影有深厚的哲学味，他总是用长镜头来雕刻时光，来呈现时空的感觉，这种运用长镜头所表现出来的时间美感，似乎只有卡兰德若的音乐捉得住神髓，所以成为安氏电影美学中不可或缺的一环。 事实上，卡兰德若透过她的音乐，带领着我们去探索希腊世界的山海景观及人心幽微，因为希腊是她的祖国，怎么也回避不了的宿命，「无论我浪游何方，希腊总是持续在伤害我。」 专辑： The Weeping Meadow - ECM 2004 Trojan Women - ECM 2001 voyage to cythera (greek remastered edition) - 2001 Eternity and a Day - ECM 1998 Ulysses'Gaze - ECM 1995 The Suspended Step of the Stork - ECM 1992 paisaje en la niebla - 1988 转贴自：http://140.138.147.33/twlai/archives/000252.html 在全球影坛中，有不少导演都有习惯合作的配乐家，比如Steven Spielberg与John Williams（外星人、辛德勒的名单、侏罗纪公园、大白鲨…）、Krzysztof Kieslowski与Zbigniew Preisner（蓝色情挑、红色情深、白色情迷）、Eric Serra与Luc Besson（碧海蓝天、终极追杀令、第五元素…）等等，而在这些影音黄金组合当中，Theo Angelopoulos与Eleni Karaindrou无疑是极为出色的一对。而且，不似某些配乐只是依附于电影的陪衬性绿叶，Eleni Karaindrou的配乐并不仅是赋予影像灵魂，同时又具有相当的独立性，即使将影像抽离开来，仍旧是个性鲜明动人的乐章。 纵观Eleni Karaindrou截至目前的配乐作品，萧瑟冷洌可说是它们令人印象最为深刻的情绪主调。听她的音乐，有如被她深沉低调的旋律引领着浪迹于冬季欧陆的迷雾森林，而这样的凄清意境，也正是我为她作品深深着迷的主因。尤其是在心情低迷的时候聆听，就像是李立群在单口相声里说的：“悲到最高点，那美感就出来了！”（或许有人会以为这是一种病态的美感…） 转贴自http://www.musicolog.com/eleni.asp Eleni Karaindrou was born in the mountain village of Teichio in central Greece and grew up in Athens where she studied piano and theory at the Hellenikon Odion. From 1969-74 she studied ethnomusicology in Paris and, on returning to Greece, founded the Laboratory for Traditional Instruments at the ORA Cultural Centre. She has since been an active campaigner on behalf of Greece's musical resources. Karaindrou has a long history of writing for film and theatre; to date, some 18 feature films, 13 plays and 10 television series have featured her music. Although most of her work has been with Greek directors she has also collaborated with Chris Marker, Jules Dassin and Margarethe von Trotta. Eleni Karaindrou has been associated with Theo Angelopoulos since 1982. Covering the waterfront Eleni Karaindrou's music for films Greece's film critics and music journalists have long felt that Eleni Karaindrou's compositions for cinema transcend the soundtrack's conventions. Her music does not merely accompany or prettify a film, they argue, but is an essential element of it. Writer Nikos Triantafillides, nothing that Karaindrou's music is as vast in scope as the time-transgressing sequence shots of Angelopoulos, says that "in all these hundreds os feet of film, Eleni's music represents the blood not shed on the screen. Her constant presence..reveals something deeply spiritual beneath the lyricism." George Monemvasites talks of a music made "to wound and liberate" as it creates "new visions and ideas" which counterpoint or parallel the cinematic action. Yet the music, heard independently, seems to insist upon its autonomy. The collection at hand is not "film music" in the limited sense but rather music that is inherently cinematic in its reach: It establishes an emotional climate. Hints at storylines it invites a listener/viewer to take up and develop, paints sky and seacapes in subtle, muted hues and, sometimes, simply, sings. Eleni Karaindrou was born in Teichio, an isolated mountain village in the Roumeli region of central Greece, and still retains memories of the sound of her childhood:"the music of the wind, rain on the slate roof, running water. The nightingale's singing. And then the silence of the snow." Sometimes the mountains would echo to the sound of flutes and clarinets played at festivals in the small Village Square. "I remember too the high pitched voices of the women singing beautiful polyphonic songs as they stripped corn all through the night while we children lay on our backs on the threshing floor, counting stars. And I still have a strong memory of the Byzantine melodies I heard in church and the continuous voices of the men accompanying the chanter." The impression left by these church experiences is evident in, for example, Happy Homecoming, Comrade where the instrumentation often shifts around a bourdon or drone bass. Karaindrou's family moved to Athens, where she "discovered cars, electricity, radio and movies." By a fortuitous stroke of fate, her new home was next to an open cinema, and she watched its programmes from her bedroom window. Between the cinema - and significantly, a cinema under the sky-and the piano, another new discovery. Karaindrou had found the central passions of her life by the age of eight. She improvised melodies from the time she first sat at the keyboard. And though she was to spent fourteen years (1953-1967) studying piano and theory at the Hellenikon Odion, the Greek Conservatory of Athens, she is a selftaught composer, an "instinctive composer" to use her own phrase. In 1967, the Junta compelled her to leave Greece. Taking her young son with her, she relocated in Paris where, assisted by a grant from the French government she began study of ethnomusicology-an important point in her biography "I was slowly becoming conscious, with increased knowledge of the musical world of my childhood. "Her investigation into the roots of music proceeded concurrently with studies in orchestration and conducting. Through her student period she wrote songs - "melody came very easily to me"- some of them meeting with a considerable commercial success which did not, remarkably, deflect her from her studies. While the songs travelled the world in numerous interpretations, she burrowed deeper into ethnomusicological research. Of her earliest albums, she is still proud of I megali agripnia (1973), her setting of poems by K.X. Miris for the voice of Maria Farantouri - a singer who inspired Karaindrou, as so many Greeks - in a time of political turmoil. Karaindrou's Paris years (1969-1974) also coincided with that city's most vigorously creative jazz era and the composer listened appreciatively. After a long period in which classical music had been has entire focus, she was awakening to the other forms- inevitably, since her studies immersed her in the folk music of the whole world. Back in Athens, she founded the Laboratory for Traditional Instrumentalists at the ORA Cultural Centre and shared the Third Radio Programme's Ethnomusicology Department. Then, in 1976 I discovered ECM. I recognised my world. I improvised and composed relying entirely on my feeling without any idiomatic or stylistic prejudices. "It was in this period she began to write, prolifically for film and theatre. Karaindrou believes that her 1979 music for Christofis's Wandering marked a turning point in her writing for cinema. Allowing herself a very instinctive reaction to subject and camera movement she was at first unsure if her compositions really complemented the film. From the finished results, she understood that she had found a very personal approach to composing for the medium: "It was a new beginning for me. Wandering opened up world I've been travelling ever since. The directors I've worked with have allowed me great freedom, and their images have given me a fantastic pretext to express my deepest sentiments and feelings." The screen needn't stop at realism. The moving picture can catch the beauty of swaying, blending lights and shadows, and by its own movement impart to it as definite a rhythm as poetry or music ever had. James Agee, 1927 Directors Chistoforo Chiristofis and Lefteris Xanthopoulos, as it happens, were both published poets before they turned their attention towards cinema, and their use of the camera is freely "lyrical". Of Wandering, his first film, Christofis has noted that "my explorations into the workings of memory and the possibilities of film making were clearly ruled by an adagio rhythm". An easy, graceful camera motion, like the sea's slow undulation, also shapes Xanthopoulos's Happy Homecoming, Comrade and some of Angelopoulos' work. The rhythms of Rosa are generally more troubled and distracted, as befits this metaphysical thriller, though there's hushed raptness to "Rosa's Song", originally sung by Karaindrou against a closing shot of the rosecoloured still waters of Missolonghi at sunset. Chiristofis's lyrics here are exceptional, beginning My name ist Rosa / and I'M the song of the soul / over the roof-tops / beyond the wind. / I tried to change the world / and turned into a song to save the dream Eleni Karaindrou says, "My relationship to the movement of the camera is, fundamentally, more important than my relationship to the screenplay. Of course, the music has to underline the story, but the meaning of film is not always explicit in the script. Image and music have to combine to say what cannot easily be said in words. Sometimes you look at a screenplay and it seems like nothing: As Harold Pinter says, the real meaning is behind the words. With the music I'm trying to contribute a kind of counterpoint to the story influenced by all components of the film - scenario, location, actor, montage. I'm looking for the rhythm inside: I'm sure I'm influenced - I can't say how - by the interior movement of Angelopoulos's sequence shots….And then, at the editing stage, the grain and the luminosity of the photos confirm what I need for colour and orchestration." Theo Angelopoulos, in this capacity as president of the jury at the 1982 Thessaloniki Film Festival, awarded Karaindrou the prize for best film score for Rosa, and asked her to work with him. Nine years later, the collaboration is still fruitful and, as of this writing, Karaindrou is at work on Angelopoulos' To meteoro vima tou pelargou. She is often the first associate abroad his film projects and the last to disembark, continually revising and modifying the music throughout the editing process. "We begin, in most cases, before there is a screenplay, working outwards from the film's underlying concepts. Angelopoulos is a man who feels much and says little, so it's important for me to understand the ideas at the root of his work, and how I can help convey the things which will not be verbally expressed in the film. Sometimes I' ve already found the main theme by the time we have a scenario." Sadly wail ye by the waters, and chant with melancholy notes the dolorous song. Not so much did the dolphin mourn beside the sea-banks. Nor so much, by the grey sea-waves, did ever the seabird sing. Moschus, Greek pastoral poet, 2nd century B.C. In this exhaustive essay on Angelopoulos, Wolfram Schütte, quoting Faukner, reminds us that the past is never dead, nor even past… to which one might add that the past frequently seems more present in Greece than elsewhere, and the sensitive Greek artist can scarcely sidestep it. As George Seferis, Eleni Karaindrou's favourite poet once said, "Greece is a continuous process". Karaindrou's own connections to Greece's past are comprehensive. She holds master's degrees in history and archaeology. In the theatre, she has chiefly been associated with contemporary playwrights but has also written music for adaptations of, for example, Aristophanes. Her ethnomusicological background and her work with the radio have equipped her to proselytize for the preservation of the old instrumental and vocal forms, and Greek tradition seems to be confirmed in her music by the presence of the dulcimer-like santouri and the clarinet as lead voices. In fact, Karaindrou has respect enough for Greek folk music to leave it alone. When she uses traditional instruments, she generally employs them in non-traditional ways. "Sometimes the santouri will take the role of the piano. Or vice versa. I don't mix up folk music with my own concepts. The sounds and colours of some of the instruments have a part to play - that's all - because they've been ringing in my head my whole life. I use them to paint pictures as my immigration dictates. My interest in traditional music and my work as a composer I see as two separate streams. Only once did I try to mix them. I knew a flute player, a gypsy, and a fantastic improvisor. I tried to bring him into my music. For four days and nights he knocked himself out trying to play what I'd written. It made me so sad. I felt like I had taken a beautiful bird and put him in a cage. In his own music he was so free. And I said: basta! - never again." With Jan Garbarek it was different. Eleni Karaindrou first heard the brooding Norwegian saxophonist on the 1977 album Places and at once felt a strong sense of identification. "When I heard his piece 'Reflections' I felt I'd found something very close to my heard and to my country. There is a strong Balkan flavour there. And when I wrote the theme for the Beekeeper, I understood very quickly that only Jan could provide the necessary colours. "He was able to approach this composition without any folkloristic rhetoric and go directly to the essentials. "There are correspondences enough to prompt reflection on Garberek's now-famous remark "You might say that I live in a spiritual neighbourhood which is scattered geographically around the world". Apparent connections are stressed by Manfred Eicher's selections of Karaindrou's material, of course, for not all her oeuvre consists of adagios and elegies. In making one new extended work of materials written for films, the producer contrasts, combines and reprises themes from six movies to uncover a mood consistent with his own feeling for the pervasive tone - and the pervasive silences - of Angelopoulos's films. Angelopoulos looks at things in silence. His sense of time, the long shots and the images of Giorgos Arvantitis had a profound influence on me", Eicher says. "I saw his films and wondered if it could be possible to achieve something comparably auratic in music production. And then, following his work into the 1980's, I gradually became aware of Eleni Karaindrou's music…" a cycle of influence was turning back on itself with Karaindrou, now an important presence in Angelopoulos' films, having been influenced by ECM's productions in general and by Garbarek's records in particular. "Karaindrou gives us the change to dream", one critic wrote in the Greek newspaper Avgi, a succinct enough summary of Music For Films, as long as one holds in mind that in dreams begin responsibilities. Challenging her own imagination to anchor or spur the images of Angelopoulos, Chiristofis and Xanthopoulos, she encourages ours to awaken and probe with her "the landscape, seascape and soulscape of the modern Hellenic world." For Karaindrou there is no escaping it. "Wherever I travel", she says, quoting Seferis once more, "Greece keeps wounding me." Steve Lake As you are writing The ink grows less The sea increases George Seferis （作为当代女性配乐者中我情有独钟的Eleni Karaindrou，其音乐里的疏离感总会带给人特别的震撼，冷冷地旁观着生活，但却充满了诗意的热爱与激情，沉静中的睿智与冥想，也许是源于对生命最高的悲悯与内省了。）