安哲羅普洛斯《霧中風景》中社會劇儀式之探討

Study on the Sociodrama Rituals of Theo Angelopoulos' "Landscape In The Mist"

林涵(Han Lin)

《臺藝戲劇學刊》 5期 (2010/03) Pp. 155-170

https://doi.org/10.29481/AJTDNTUA.201003.0010

摘要

希臘國寶級大師安哲羅普洛斯（Theo Angelopoulos）被國際影壇稱之為─近代電影悲劇之父，在創作裡，偏好使用大量的希臘神話情節象徵、歷史社會亂象元素、長鏡頭走位、以及畫外空間（l'espace off）的運用，因而形成具有濃厚戲劇結構存於電影之中。安氏電影生涯前期作品大多和希臘歷史、社會動盪不安以及政治壓迫之議題有關，並且探討了群體和社會、個體和社會之間所造成的宿命關連，後期作品較多為探討個人內在生命旅程。《霧中風景》則是安氏電影作品中的分水嶺，同時也如美國影評人Michael Wilmington說《霧中風景》是安哲羅普洛斯與外界（觀眾）的「橋樑」，此片藉由兩位孩童主角的尋父之旅，路上遭遇如同安氏自己曾經這樣形容過《霧中風景》：「這是一趟生命啟程之旅，一路上孩子們學會了所有的事物：愛與死，謊言與真實、美麗與毀壞（It is a journey which is the initiation into life. On the road the children learn everything-love and death, lies and truth, beauty and destruction.）。」而邁入大人世界的殘酷，來探討社會亂象以及成長啟蒙儀式。此片該論敘之觀點與20世紀人類學家維克多‧特納（Victor Turner I920─1983）的「社會戲劇」理論（Social drama）以及范‧金納普（Arnold van Gennep 1873─1957）的「過渡儀式」（The rites of passage）理論有所關聯，在此也會一並探討影片中的戲劇象徵運用。

關鍵字

安哲羅普洛斯 ； Theo Angelopoulos ； 《霧中風景》 ； 社會劇 ； 儀式 ； Victor Turner

並列摘要

Theo Angelopoulos, one of the greatest Greek filmmaker, has been called ”The Father of Modern Time Tragedies” by the international film industry. Among his works, he likes to use metaphors from Greek Mythology, elements of social and historical disorder, mis-en-scene in long shots, and the l'espace off. His works always have strong drama structures because of the elements mentioned above.Angelopoulos' early films are mostly about Greek history, the unstable society and political repression. Also they talk about the destined relationship between people and society, or individuals and society. In his later stage, his films are more about the journey within one's life.Landscape in The Mist is a divide between the two stages of Angelopoulos' films. As Michael Wilmington, an American film critic mentioned, Landscape in The Mist is the ”bridge” between Angelopoulos and the audiences. The film is about the journey of two children in search of their father. What they encountered on the road is just like what Angelopoulos said about this film -”It is a journey which is the initiation into life. On the road the children learn everything - love and death, lies and truth, beauty and destruction.” By stepping into the cruelty of the grown-up world, he wanted to talk about the social disorder and the ritual of becoming an adult. The points of view in the film can be related to the ”Social Drama” theory by humanist Victor Turner(1920-1983) and also ”The rites of passage” theory by Arnold wan Gennep(1873-1957). In this article we will also discuss about the use of drama symbols within the film.