愛麗絲“黑色”夢遊記：茱利•泰摩的前衛莎劇電影《泰特斯》

10.30095/SYJH.200712.0003

朱靜美

莎劇電影 ； 茱莉•泰摩 ； 莎劇泰特斯 ； Shakespearean film ； Julie Taymor ； Titus Andronicus

中山人文學報

24期（2007 / 12 / 01）

41 - 63

繁體中文

二十世紀末短短的十年間（1990-2000年），莎士比亞入侵好萊塢與歐美各大獨立片廠，引爆一波威力強大的莎劇電影熱潮。其中美國導演茱利•泰摩(Julie Taymor)改編自莎翁早年的復仇悲劇《泰特斯》(Titus Andronicus)一片(1999)，被譽為世紀末最值得注目的莎片之一。更重要的是，本片的特異風格反映出世紀末莎劇電影特質：隨著電影技術的發達成熟，開始恣意玩弄各種技巧，再感受到電影單一媒介的不足後，一些前衛導演開始加重其他的藝術形式在電影中所占的比例，重新定義電影語言，也因此觀眾在賞析作品時不能繼續沿用以往預期心理，必須要換一種閱讀方式才能領會其作品之堂奧。 本文的目的是分析茱利•泰摩是如何運用前衛劇場導演大師的理論與技巧，並融合視覺藝術和多媒體動畫等異媒材，來重新詮釋一個莎翁筆下殘暴的古羅馬將軍復仇的故事，全片宛若夢境，充滿後現代拼貼色彩，挑動道德理性神經的藝術風格，在在顯示出導演意欲營造出一個夢與真實難辨、善與惡交錯、理智與清醒不分、痛與樂共存的黑色夢遊旅程。

In the last decade of the Twentieth century, Shakespeare suddenly landed in Hollywood and major individual movie companies around Europe and America. Among them all, American director Julie Taymor's Titus Andronicus was a successful adaptation of the revenge tragedy by Shakespeare, which was considered one of the most significant Shakespearean films of the late century. More importantly, this film's unique style reflects some of the elements of Shakespearean film in the late century. As film technology develops into a higher level, where techniques are widely applied and experimented, a feeling of deficiency in single media arouses. Some avant-garde directors took an advanced step in emphasizing different art forms in their films to a deeper extent, redefining film language. As a result, the audience can no longer rely on their previous way of appreciating works-with fixed anticipation, but they must convert their way of viewing in order to truly understand and appreciate the works. The purpose of this paper is to analyze how Julie Taymor applies the theories and techniques of avant-garde theatre directors, and how she listen diverse media, such as visual arts and animation, to reinterpret Shakespeare's story about an ancient ruthless Roman general's revenge. The whole film serves as a dream itself, filled with postmodern montage; and along with its artistic style of provoking morality and reason, all reveal the director's intention of creating a black somnambulating journey where the boundaries between dream and reality, good and evil, reason and consciousness, pain and joy are vague and undistinguishable.

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