愚鱼寓
Foolish Fish Fable
简介
结合定格布偶动画，木偶戏及伪纪录片动画的手工影像短片。讲述一条很有礼貌的大鱼想要吞食童子成仙的故事。
Intro
A stop-motion puppet animation incorporating ceramic puppetry, portraying the tale of a foolish fish attempting to eat children in its pursuit of becoming a legend.
时长
8-10mins
Time
8-10min
国家
中国；台湾；爱沙尼亚
下载项目文档
下载项目文档
Country
China；Taiwan；Estonia
导演 Director：孙逸阳 YiyangSun
导演 Director：雷佳蕙 Lei Chia Hui
剧本 Script
久很久以前，有一条小鱼，
它听说只要将来能吃到一个小孩儿自己就可以成仙。
然后这条鱼就很努力地好好吃饭睡觉长大，终于把自己养成了一条大鱼，大到可以吃掉一个小孩儿。
但是这个鱼呢 它很有礼貌，它希望小孩儿能心甘情愿地被自己吃掉。
所以它对着河里划船的小童子说：我可以吃掉你吗？
划船的小孩儿们当然不愿意啦，
但看在大鱼这么礼貌的份上，决定帮助它。
小孩儿们划着船说：要不我帮你到岸边问一下吧！
大鱼跟着划船的小孩来到了岸边，船上的小孩就下船，
问岸上的小孩们：你们想被大鱼吃掉吗？
岸上的小孩当然不愿意啦，“但是我可以帮你问问树上的小孩。”
“没关系，我们可以帮你”岸上的小孩提议道
大鱼跟着划船童子和岸上的童子一起过桥，桥上的小童子们也纷纷凑热闹，
大家一起来到了树下，问树上的小孩：你们想被大鱼吃掉吗？
树上的小孩当然不愿意啦，“但是我们还可以往山里走，山里的小孩说不定愿意被你吃掉”
大鱼说“可是我过不去怎么办？” “看在你这么礼貌的份上我们可以抬你过去”
然后鱼在抬去山里的过程就死掉了。
Ages ago, there was this tiny fish that heard some rumor:
if it could munch on a kid one day, it could level up and become a legend.
So, this fish got super serious about eating, sleeping and growing big enough to swallow a kid whole.
But here’s the thing about this fish – it was a polite one.It wanted the kid to volunteer for this whole being-eaten thing.
So, it went up to these kids rowing boats down the river and asked
“Mind if I gobble you up?”
The boat kids obviously said no way.
But since the fish was so polite, they agreed to help.
They paddled over to the shore and asked the land kids
The big fish swam to the shore, and the children on the boat got off.
“You cool with becoming fish food?”
“Nah, but I’ll check with the tree kids for you.””In consideration of your politeness…”
The fish hesitated, “But how do I cross?”
“We’ll carry you,” they offered.
The fish, along with the boat kids and the land kids, crossed a bridge. Yep, even the bridge kids tagged along.
They all got to the tree and asked those kids. “Wanna be a fish’s snack?”
The tree kids passed, saying “But we could go ask the mountain kids; they might be into it.”
“In cons ideration of your politeness… we can carry you together！”
But guess what? While they were lugging the fish up to the mountains
it just… well,
it died
角色设计 Character Design
动态设计 与 素材参考 Animatic With Reference
剧本下载 Script Download Script download
故事版 Storyboard
概念构想
故事从我在中国敦煌的二手市场收集到的一块百子图刺绣布开始，我非常喜爱这块刺绣，刺绣图种童子将鱼搬离水中的场景令我感到疑惑和好奇。鱼为什么离开了水中？百子图背后又有着什么寓意？于是我撰写了这个大鱼食童子欲成仙的故事。
我们试图通过开放的动画制作方式与偶戏的演出，并结合伪纪录片的拍摄形式，邀请大家进入“愚鱼”的体内，探寻愚鱼成仙的意义。比起结果，我更想将开放的过程作为影像的肉体展现给大家，通过manipulate（操控）与animate（赋灵）探讨海陆迁徙及移民；人口变迁及计划生育；祭祀文化；台湾与大陆；水上贸易与掠夺及神话原型象征等开放的问题与状态。残酷的童话故事带来的既定的寓言故事结果。
这幅图像对我来说就像占卜一样但制作这部动画是通过结果寻找原因的过程。
当死亡是一个既定的故事结局时，作为这一庞大整体模糊的局部，渺小的我们该如何以肉身对抗这向死而生的命运呢？
我们有3套偶表演系统：
1.20余个布料童子偶与一条大布鱼作为定格动画的角色。我们将结合刺绣的工艺与扎染的工艺制作。
2.提线陶瓷童子偶与陶瓷鱼作为偶戏表演的鱼，进行户外实景偶戏的拍摄。我们也会制作童子头套扮演操偶的童子。偶戏的灵感来源自越南水偶戏，中国黄山的大鱼灯会及中国闽南地区与台湾的偶戏传统。
3.拾得影像结合平面布料进行平面定格动画的拍摄，试图让会呼吸的媒介本身“自动性”地进行故事表达。
我们都是来自爱沙尼亚艺术学院动画专业的研究生，Anu-laura Tuttelberg 将执导我们进行定格动画与偶制作，同时明年我也将前往DAMU 进行物件偶剧的学习。我们也在寻找制片人与更多驻地支持，帮助我们进行实景偶戏的拍摄。声音方面我们也将结合传统民族乐器进行演绎，谱写童谣。
Conceptualization
The story begins with a piece of hundreds of kids embroidery that I collected from a flea market in Dunhuang, China. I fell in love with this embroidery; the scene depicted a child carrying fish out of the water, which left me puzzled and curious. Why would the fish leave the water? What symbolism lies behind this giant fish and countless children? So, I wrote the story of a big fish longing to become immortal by devouring children.
We aim to blend puppetry performances with open animation techniques, coupled with the filming style of mocumentaries, inviting everyone to delve into the metaphorical “Yuyu” (Foolish Fish) and explore the meaning behind its quest for immortality. Rather than focusing solely on the outcome, I’m more inclined to showcase the open process as the embodiment of the imagery, delving into themes such as manipulate and animate to discuss topics like marine and land migration; population shifts and family planning; ritualistic cultures; Taiwan and mainland China relations; waterborne trade, plunder, and mythological symbols, among other open-ended questions and scenarios.
What you see from this trailer？
This cruel fairy tale brings an inescapable allegorical outcome.
It’s like divination for me. I already have the ending of the story, but the process of creating the animation is a journey from the result to the cause.
When death is a predetermined ending, how should we, as a tiny parts of this vast and indistinct whole, use our physical bodies to fight against this fate of living towards death? How can we break the rules of the game and continue to create and live in this big chaos in a balence?
We have three puppet systems:
1. Over 20 fabric kid—puppets and a large fabric fish for stop-motion animation. We will combine embroidery and tie-dye techniques in their production.
2. String-controlled ceramic puppets and ceramic fish for outdoor puppetry performances. We will also create puppeteer masks to manipulate the puppets. The inspiration for the puppetry comes from Vietnamese water puppetry, the giant fish lantern festivals in China’s Huangshan, and puppetry traditions in southern Fujian and Taiwan.
3. Found footage combined with flat fabrics for flat stop-motion animation, aiming to let the breathing medium itself express the story automatically.
Currently we are all MA students from the Animation Department of the Estonian Academy of Arts. Anu-Laura Tuttelberg will direct us in stop-motion animation and puppet making. Next year, I will also study object puppetry at DAMU. We are also looking for producers and more residency support to help us shoot outdoor puppetry performances. For sound, we will incorporate traditional folk instruments and compose nursery rhymes.
在一方面我和佳慧作为小童子想要帮助大鱼成仙，一方面大鱼又像是我们的敌人，我们需要与与抗争。边扛鱼边抗鱼。爱沙尼亚的人口分别是上海和台湾的十分之一。
我们最终在欧洲制作这部片子，不是原因而是结果。这个偶然的结果也得以让我们从重复的人群中跳脱出来，正如我们在片中引入捣蛋鬼小童的角色，在密密麻麻重复的童子像中，总是会有那么一两个童子在游戏的规则边界试着，他们是连接者的角色，是偶然也是必然。
或许你在最后会发现这些重复的众生像中各有各的不同，在这个过程中有太多人帮助了我们，而谜底就在谜面上，成像的过程也是最诚实的。
On one hand, Jia Hui and I, as the kids, want to help the big fish become the legend. On the other hand, we have to fight against the fish.
For example, When I make the mold,The plaster broke off due to an imbalance in the ratio of water to powder；the same problems happen to glazing the fish body and dying the fish skin. Whenever we tried to solve the problems separately, we seemed to fail. However, when the two of us work together，problem solved. Although we haven’t created the perfect fish yet, we’ve certainly produced plenty of dead fish and dried fish skin corpses along the way.
This is a dialogue with the medium, a conversation about the control and being controlled.
The population of Estonia is one-tenth that of Shanghai and Taiwan respectively. We ended up making this film in Europe, not as a cause but as a result. This accidental outcome allowed us to break free from the crowd. Just like how we introduced this trouble maker kids in the film, among the identical figures, there are always one or two who test the boundaries of the rules. In reality, they may work as connectors, a role that is both accidental and inevitable.
I believe that the process of imaging is the most honest part.Perhaps in the end, you will find each of these repetitive beings has its own uniqueness.So many people are helping us during the process.
As the old saying goes, the answer lies on the surface of the riddle.
A single person cannot have a child.
一个人是无法生孩子的
The back is always more interest than the front
反像比正向有趣
The abstract and combinatorial games within social rules.
在社会规则中完成的抽象游戏与组合游戏
image are pregnant
图像会怀孕
produce a shared logic, coexisting with them to bridge gaps
试图生产公共的逻辑，与他们共在以弥补间隙
re-engaging with image games from the perspective of media archaeology.
以媒介考古学的角度重新与图像游戏
How to extend the life of your collection.
如何延展藏品的生命？
How to release control？
如何释放控制欲？
How to create a condition instead of a specific.
如何制作一个条件而不是一个具体？
What is help and how to help？
什么是帮助且如何帮助？
I know I’ll eventually see this film, so I’m making it, do you trust me?
我知道我最后会看到这个片子，所以我在制作它，你相信我吗？
