論侯孝賢電影中的表演調度

本文以探討「侯孝賢電影中的表演調度」為主題，主要研究範疇為《兒子的大玩偶》（1983）到《刺客聶隱娘》（2015）共16部電影作品。論文主要分成四部分論述：一是描述侯孝賢電影的表演調度演進史。二是建構侯孝賢以表演調度為核心的導演思考及創作論。三是從演員舒淇與其合作的表演風格轉變，論證侯孝賢運用其表演調度手法引導演員所塑造出的表演深度。四是以《刺客聶隱娘》論侯孝賢的晚近風格，透過表演文本分析展示本論文的表演分析系統與思考脈絡以及分析成果，以下簡述各章重點。第一章為緒論。第二章綜論侯孝賢開啟其獨特的表演調度思考的背景、演變過程和逐漸的核心轉移。本章逐片細讀電影表演文本與劇本，反覆對照分析與辯證，主要參照巴贊對新寫實主義電影的表演論述，明晰侯孝賢藉由推動表演的即興現場以致更改、延伸發展劇本設定的創作方法，從純粹寫實逐漸轉變到關注個人存在的當下抉擇，其後期作品逐漸脫離了巴贊所推崇的寫實主義「深焦長鏡頭」。第三章以歸納法重建侯孝賢以表演調度為核心的創作論，從他的拍攝與思考脈絡中統整且建構出獨屬於侯孝賢的導演理論。本章借用心理學巨擘薩提爾所提出的冰山理論，與侯孝賢引導演員投入的觀點產生互動，闡發侯孝賢獨有的冰山創作理論，探析其核心的創作觀點：反對以文本情節為中心戲劇性、劇本的可變動性以及絕對信賴演員的態度，本於此發展出非職業演員的運用及即興現場的限制與自由，剖析他在創作環節中不斷拉進「角色—演員」距離的方法。第四章以實證法溯因推理，透過明星舒淇與侯孝賢的合作，從其明星形象到影像表演的轉型，並逐漸成為演員作者的主動性，驗證侯孝賢的導演創作思考對演員表演的啟發、深刻化與影響，其中借用尤金諾．芭芭的表演人類學以及戴爾的明星理論相互參照。第五章透過《刺客聶隱娘》（2015）的深入分析、對照表演文本與劇本，探究侯孝賢的晚期風格。本章汲取《後戲劇劇場》的觀點佐以帕維斯（Partice Pavis）之表演分析理論（performance analysis）作為依據，探討侯孝賢晚近的表演文本呈現出的「時間的層次感」，以此對文字劇本產生的框架挪移以及形塑出角色發自內在超越因果的自由抉擇，並進一步反思電影評論以文本為單一中心的困境。第六章則為結論，論述侯孝賢透過「無我」的表演調度所締造的電影美學成就。

關鍵字

侯孝賢；巴贊；表演調度；舒淇

並列摘要

This paper explores the mise-en-scene of performance in Hou Hsiao-Hsien's 16 films, from The Sandwich Man (1983) to The Assassin (2015). The research consists of four parts: First, it describes the development of the mise-en-scene of performance in Hou's films. Second, it establishes Hou’s directorial and creative thinking with the mise-en-scene of performance at the core. Third, through changes in the performance style of actress Shu Qi in her collaboration with Hou, the paper discusses the ways that Hou uses his performance mise-en-scene techniques to direct actors to build the depth of performance. Fourth, it analyzes The Assassin to examine Hou’s late style. The performance text analysis shows the research thinking context, the system of performance analysis, and the analysis results. The focuses of each chapter are as follows. Chapter 1 is the introduction. Chapter 2 discusses the background of how Hou formed the ideas for his unique performance mise-en-scene, his development process, and his gradual shift in focus. This chapter closely studies the performance text and script text through comparative analysis and dialectics. Referencing the writings of Andre Bazin on the performance in Neorealism, the chapter sheds light on Hou’s approach to directing performance through improvising as well as his changing and expanding settings in the script. Shifting from pure realism to the immediate moment of an individual's decision, Hou’s later work slowly moves away from the deep focus shot in the Bazinian realism. Chapter 3 summarizes and reconstructs Hou’s creative approach to the mise-en-scene of performance as the core. Through the background context of Hou’s shooting and thinking, the chapter constructs a unique director’s theory of Hou. Studying Hou’s direction of the actors from the perspective of renowned psychotherapist Virginia Satir’s Iceberg Theory, the chapter elaborates on Hou’s unique filmmaking theory and analyzes the essence of his creative viewpoint: opposing the plot-centered dramatics, the flexibility of the script, and the absolute trust in actors, which he bases on to develop his work with non-professional actors and the freedom and limitations of improvisation. The chapter analyzes his approach to closing the gap between the “character” and the “actor” in various creative aspects. Based on the empirical reasoning method, the fourth chapter explores the collaboration between famous actress Shu Qi and Hou and traces her proactive transformation from her stardom image to a film performer and eventually into an auteur actress. It verifies the inspiration and profound influence of Hou’s directorial thinking on actors’ performances with references to Eugenio Barba’s idea of Theatre Anthropology and Richard Dyer’s star theory. The fifth chapter explores Hou's late style through an in-depth analysis of The Assassin to compare the performance text and the script text. The chapter borrows the perspective of Postdramatic theatre and Patrice Pavis’ performance analysis to discuss the “layers of time” in the performance text in the later work of Hou. In this way, the performance text reframes the script text, building up the characters' self-owned freedom of choice beyond causality. The chapter also reflects on the predicament of film criticism focusing on the text as a single source. The sixth chapter concludes and summarizes Hou’s achievement in film aesthetics through his spontaneous and organic mise-en-scene of performance.