戲中戲、影中影：艾爾‧帕西諾的《尋找理查》後設莎片實驗

The Frame-within-the-Frame: The Meta-cinematic Strategies of Filming Al Pacino's "Looking for Richard"

10.6257/JOTS.2013.12165

朱靜美(Ching-Mei Chu)

莎劇電影 ； 後設電影 ； 艾爾‧帕西諾 ； 《尋找理查》 ； 電影敘事 ； Shakespearean film ； meta-cinema ； "Looking for Richard" ； Al Pacino ； filmic narration

戲劇研究

12期（2013 / 07 / 01）

165 - 193

繁體中文

莎士比亞為西方戲劇巨擘，其劇作從不刻意隱藏「扮戲」的觀念，名劇如《哈姆雷特》、《暴風雨》、《仲夏夜之夢》等更經常包含兩個以上的戲劇框架。雖然在其時代尚未出現「後設戲劇」的概念，但莎翁的原著常出現早期精彩的「後設人物」（角色多重扮演／角色假扮）、劇中劇、劇場生態與真實人生互文對照等。這些特質正好為二十世紀導演運用「後設電影」手法搬演莎劇舖了路。由於莎翁經常將「戲如人生」、「世界原是一舞台」的劇場概念攙入其劇本之中，莎劇搬上大螢幕遂自然有很大的後設潛力。一九四○年至二○○○年全球累積的莎劇改編電影不下千部，其中艾爾．帕西諾（Al Pacino）於一九九六年執導的《尋找理查》（Looking for Richard）創造出前所未見的新穎莎片類型；導演將莎劇的後設特徵局部放大變成整部電影的演出形式，完全解構莎劇原著文本，文本甚至變成浮光掠影般可有可無的框架，語言也被大幅刪減、層層解構，利用各種手法提醒觀眾現在正在觀看一部人工刻意打造的、虛擬的莎劇電影，最後留下隙縫處處的開放結局讓觀眾自由探索。本文的目的是探討艾爾．帕西諾獨特的莎片導演手法，挖掘他是如何激烈改寫莎翁原著，並運用中斷敘事、岔題、破碎剪接等手段來製造觀影閱讀障礙和防止觀眾入情，以及如何運用框中框的各式後設技巧，造成兩種或多種藝術形式並陳衝擊，衍生交相指涉的趣味，從而創造出「電影中的電影」之後設符碼功能。

Shakespeare, the master of Western drama, never seems to care to conceal the idea of ”playing” in his theatrical works. In Shakespeare's most well-known plays such as ”Hamlet”, ”The Tempest”, and ”A Midsummer Night's Dream”, two or more dramatic frames are often seen to be contained within one single play. Although the concept of ”meta-drama” had not taken shape in Shakespeare's times, spectacular ”metacharacter” (multiple role-playing), play-within-a-play, and intertextual juxtaposition of the theatrical circle and real life were already seen in his early original scripts. Those mentioned qualities pioneered the techniques of ”meta-cinema” rendition of Shakespearean drama employed by directors in the twentieth century.Shakespeare often incorporates the concepts ”life is like a play” and ”the world is a stage” into his works, which endow Shakespearean screen plays with a tremendous potential for meta-cinema. During the 1940s to 2000s, there were over a thousand cinematic adaptations of Shakespeare's plays around the globe, among which ”Looking for Richard”, directed by Al Pacino in 1996, created a trailblazing category of Shakespearean cinema. Pacino expanded the partial meta-cinematic features of this play into the whole film, totally deconstructing the original text of Shakespeare, and turning it into a fleeting, next-to-nothing framework; the language was also extensively slashed and deconstructed layer by layer-ways to remind the audience that they are watching an artificially forged, made-up Shakespearean film. The cracks of the open ending leave the audience to unlimited exploration.The purpose of this paper is to analyze Al Pacino's outstanding directing techniques in this Shakespearean film: how he radically adapted Shakespeare's play from a ”meta-” point of view, and how approaches like interrupted narration, diverging, and fragmentary editing were exercised to create obstacles for the audience in the viewing process and to prevent empathy. Moreover, the various meta-cinematic techniques like ”frame-within-a-frame” in the film will be introduced in terms of how they produced a parallel and clash of two or more art forms to create an interesting inter-referencing effect, and yielded the function of meta-signifiers that reflexively allude to cinematic production itself.

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