老戲法、新活用：義大利藝術喜劇之「拉奇」與好萊塢早期的動畫表演

Old Trick, New Show: Lazzi in the Commedia Dell'Arte and Hollywood's Early Motion Design

朱靜美(Vivian Ching-Mei Chu)

好萊塢動畫 ； 拉奇 ； 動畫表演 ； 義大利藝術喜劇 ； Hollywood animation ； Lazzi ； animation acting ； commedia dell'arte

戲劇學刊

21期（2015 / 01 / 01）

195 - 217

繁體中文

崛起於十六世紀的「義大利藝術喜劇」（commedia dell'arte）是一種沒有劇本、只有簡單的劇情大綱，純以肢體為呈現主體的即興喜劇表演。除了鮮明逗趣的定型角色之外，此表演之精髓主要奠基於精彩的「拉奇」（Lazzi）。隨著義大利藝術喜劇縱橫歐洲兩百五十年之久，拉奇在西方喜鬧劇發展史中便不斷被廣為運用，二十世紀初的默片泰斗如卓別林（Charlie Chaplin）、巴斯特．基頓（Buster Keaton）等更將「拉奇」的動作設計概念加以發揚光大，進而影響到美國商業動畫。本文的目的是挖掘：好萊塢早期動畫師是如何運用義大利藝術喜劇的表演精華「拉奇」，從而創造出其特有的動作設計技巧。再者，大家公認好萊塢早期動畫的肢體表演是以純粹無聲的肢體表演取勝，因此將功勞歸於默片，殊不知默片與義大利藝術喜劇有著濃厚的血緣關係，因此本文將尋根究底，希望當代的動畫藉此從最初的創意泉源找回用肢體說故事的能力。而拉奇正是義大利藝術喜劇的動作精髓，若欲參透好萊塢早期動作設計理念，則從拉奇的觀點切入有助於理解西方數百年來的喜劇動作常規是如何沿襲應用於美國商業動畫之中。

The Italian commedia dell'art originated in the sixteenth century is an improvisational performing style that features body movements and is carried out without a script but a simple scenario. In addition to its funny and vivid stock characters, the gist of this performance style mainly lies in the spectacular Lazzi. As the commedia dell'arte dominated Europe's theatre for two and a half centuries, Lazzi contributed significantly to the development of farce and comedy. Masters of mime in the early twentieth century like Charlie Chaplin and Buster Keaton further expanded the design concepts of Lazzi and impacted Hollywood's animation acting. The purpose of this paper is to investigate how Lazzi, the central element of the commedia dell'arte, is employed by Hollywood animators to create a unique language of acting and movement design. It is commonly thought that acting in Hollywood's animation excels in its silent bodily movements, a debt attributed to mime. That mime and the commedia dell'arte have a blood-thick connection, however, is often overlooked. Hence, this paper will trace the story-telling capacity of the body in the contemporary animations back to its creative origin and revisit the source of its revival. Lazzi comprises the essence of body movement in the commedia dell'art, and serves as a lens for a glimpse at the movement design concepts of the early Hollywood animation. Lazzi provides a potent standpoint to fathom the prominence of centuriesold comedy movement design concepts, which are well-manifested in early Hollywood's animation.

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