Republic of Congo, 2013. Pointe Noire, by Alex Majoli. Courtesy of the artist and MACK

In a departure from the photojournalistic desire to capture unadulterated reality (an arguably impossible task), Magnum photographer Alex Majoli has leaned into the theatre of life for Scene, his new book published by Mack. Scenes of political protest and humanitarian crisis across the globe, alongside quiet everyday moments, show individuals playing their role, acting their part given to them through history and circumstance. In this strange climate of conflicting truths, events in Europe, Asia, South America and Africa are depicted with tenebrious light that suggests the line between theatre and reality is finer than we might like to think.

马格纳姆摄影师亚历克斯·马约利(Alex Majoli)的新书“生活剧场”(Thethethethethethethethethethethethethethethethethethethethethethethethethethethethethethethethethethethethethethethethethe全球各地的政治抗议和人道主义危机的场景，以及平静的日常时刻，显示了个人发挥自己的作用，在历史和环境中发挥他们的作用。在这种矛盾的真理的奇怪气氛中，欧洲、亚洲、南美洲和非洲的事件被描绘成一种昏暗的光线，表明戏剧和现实之间的界线比我们想象的要好得多。

This understanding of theatre is central to Maloji’s process: each image he creates begins with him and his assistants arranging lights as if they’re building a set. There’s a pause of a minute or perhaps hours or more, a waiting of the show to start, then with no direction given to those in frame he begins to shoot. David Campany explains in the accompanying essay in the book: ‘If the world is expecting to be photographed, it exists in a perpetual state of potential theatre.’ Whether it is on CCTV, a smartphone camera, or with Majoli’s flash.

对戏剧的理解是马洛吉创作过程的核心：他创作的每一个形象都是从他和他的助手布置灯光开始的，就像他们在建造一个场景一样。有一个暂停一分钟，也许几个小时或更多，一个等待的节目开始，然后没有给那些在帧的方向，他开始拍摄。大卫·坎帕尼在书中的随笔中解释道：“如果这个世界期待被拍照，它就永远存在于一种潜在的戏剧状态中。”无论是在闭路电视，智能手机摄像头，还是与马约利的闪光灯。

However, we must not assume that this theatrical approach, with its intervention of flashes far brighter than daylight, detaches Scene from reality. Instead it raises important questions regarding the tensions between art and documentary. Does throwing a sunlit scene into apparent moonlight with a flash remove its authenticity? Perhaps approved photographic acts of framing and timing are just as significant influencers of representation. Does the act of a team setting up lights influence the actions of those within the scene? Perhaps not when we understand our whole lives are lived as performance, when there is a potential to be recorded at any moment.

然而，我们绝不能认为，这种戏剧性的做法，其干预的闪光远比白天，脱离了现实的场景。相反，它提出了关于艺术和纪录片之间的紧张关系的重要问题。用闪光将阳光投射到明显的月光中是否会消除它的真实性？也许，认可的摄影行为的框架和时间正是同样重要的影响代表。团队设置灯光的行为会影响现场人员的行为吗？也许不是当我们明白我们的整个生命都是以表演的形式存在，当我们在任何时候都有可能被记录下来的时候。

Photographs from Scene will go on show in a corresponding solo exhibition at Le Bal in Paris, opening to the public on 22 February. §

现场的照片将于2月22日在巴黎勒巴尔举行的个展上展出。§

英国，伦敦，2016年。英国退欧投票后的早晨，伦敦金融城牙买加酒馆，由亚历克斯·马约利(AlexMajoli)著。这位艺术家和麦克·英格兰，伦敦，2016年。英国退欧投票后的早晨，伦敦金融城牙买加酒馆，由亚历克斯·马约利(AlexMajoli)著。艺术家和麦晋桁

巴西，圣保罗，2014年。Igreja Internacional de Gra a de Deus质量在一家重新使用的电影院内，由Alex Majoli著。由艺术家和麦克巴西，圣保罗，2014年。Igreja Internacional de Gra a de Deus质量在一家重新使用的电影院内，由Alex Majoli著。艺术家和麦晋桁

巴西，Santos，2014年。迪尔玛·罗塞夫(DilmaRousseff)总统聚集在一家市政厅外，提交了一份由亚历克斯·马约利(Alex Majoli)执掌的由艺术家和麦克巴西，桑托斯，2014年。迪尔玛·罗塞夫(DilmaRousseff)总统聚集在一家市政厅外，提交了一份由亚历克斯·马约利(Alex Majoli)执掌的艺术家和麦晋桁