Monday, November 30, 2009
這篇在globe and mail評論lady gaga的文章頗有趣。節錄如下。
But while Gaga's costumes are often sexy, in that they show a lot of flesh, it's not at all clear that she's trying to be sexually appealing when she wears them. Her fascination with modified or deformed bodies goes to a deeper place, where we hide our fears about our basic physical selves.
“For the deformed, there is an ownership of one's difference, an ownership that is visible and indisputable.” That's from a paper Gaga wrote at New York's Tisch School of the Arts in 2004, when she was still calling herself Stefani Germanotta. The paper distinguishes between the shackled “social body” and the natural body that is “independent, formless and free.” Trying to clear a bigger space for this freer independent body, Gaga quotes from Montaigne's essay, Of a Monstrous Child : “What we call monsters are not so to God, who sees in the immensity of his work the infinity of forms that he has comprised in it.” Gaga has obviously stayed true to the monster theme, both in the title of her new album and tour, and in the way her videos and performances mash together views of the sexy body and the deformed or alien body.
Gaga deals with emotion, but it's mostly dark. Rage and disappointment are what I hear seething through her music, in which the object of desire sometimes turns out to be the figure in the mirror or on the tabloid's front page. She may look bloody and damaged, but she's in control, as Madonna always was, and as so few of the rest of us feel ourselves to be, especially when it comes to our bodies and how they appear to others.