文革敘事，各自表述——《棋王》、《霸王別姬》跨地域改編電影之研究

九0 年代初改編自文革題材小說的電影《棋王》和《霸王別姬》，原著作者與電影編導皆橫跨不同地域，展現港、中同世代創作者迥異的國族意識和文化視野。香港導演嚴浩、徐克將大陸作家阿城〈棋王〉與臺灣作家張系國同名小說交相穿插，阿城沖和淡靜的尋根小說經改編為曲折誇張的商業電影，原著深蘊的精神追求經簡化為生存問題，隱晦的政治諷諭亦轉為鮮明的嘲諷，然電影表現的香港立場含混，也反映九七前身份認同的模糊和不確定。《霸王別姬》小說和電影交相影響又相互抗衡，小說流露張派蒼涼的人生況味，陳凱歌透過場景安排、京劇文化和人物對白表現京味，風格悲壯且戲劇化，大相逕庭的結局寓含各異的人生態度和國族意識；小說嘲諷文革的荒謬性並展現鮮明的香港意識，電影表現對文革的省思之餘，亦顯示公開展演和自我東方主義化的傾向。兩部電影皆強化了原著的文革敘事，並形成「一個文革，各自表述」的微妙詮釋。

關鍵字

文革；棋王；霸王別姬；改編

並列摘要

The 90th's book-inspired movie King of Chess and Farewell My Concubine are adaptations of the subject matter of the Cultural Revolution in China. The authors of the novels, the editors and the directors of adaptations are from different regions. These show the widely different national consciousness and the cultural horizon between Hong Kong and Chinese writers of the same generation. The Hong Kong directors Yim Ho and Hark Tsui weave two novels with the same titles King of Chess written by A Cheng, a Chinese novelist, and Chang Shi Kuo, a Taiwanese novelist together and adapted this series, mild root-searching novel written by A Cheng for the winding, exaggerated commercial movie. Besides, the adaptation simplified the depth spirit pursue in the novel into the living problems. It also turns the inner political satire into the clear-cut satire. However, the ambiguous stance of Hong Kong also reflects the uncertainty and vagueness of identity recognition before 1997. There is a complex intertextuality relationship between the novel and movie Farewell My Concubine. The novel is full of the Eileen Chang's legacy, the desolating life circumstance. Through the scenic settlement and the culture and dialogues in role of the Beijing Opera, Kaige Chen manifests the Beijing flavour. The movie style is tragically heroic and dramatic, and the entirely different ending in the movie implies the different life attitude and national consciousnesses in both regions. The novel satirizes the absurdity of Cultural Revolution in China and expresses the clear consciousness in Hong Kong. The movie not only reflects on the Cultural Revolution in China but also inclines to show the public performance and self-orientalism. Both movies strengthen the narration of Cultural Revolution in China expresses in the novel and form the tender interpretation of ＂Each gives a Cultural Revolution in China different expressions.＂