华语电影中的游戏与中介区间-表演理论和明星研究结合的进路

Play and Liminality in Chinese Cinema: Star Studies in the Perspective of Performance Theory

明星研究视明星为"多重意义的建构",即预先假定存在稳定清晰的意义体系可供解构与辨析。表演理论不再把意义看成"被建构"的,而视其为"联接"的结果,充满巧合、即兴和多元并置。将表演理论与明星研究有效结合,有助于探究更丰富的电影手段与表演策略。本文以梁朝伟"消除自我"的复现式表演为例,探寻一种清幽灵动的进路,游走于在场与缺席之间,创生华语电影独特的游戏和中介区间,不断挑战僵化的思维和认知习惯,彰显出对历史和现实进行更替和改易的无限可能。

Star studies see film stars as ＂structured polysemy＂ and anticipates a salient system of meaning for us to decode and appreciate. Performance theory treats meaning as ＂conjunctural＂ rather than ＂structured＂ and privileges coincident, improvisa tion and juxtaposition. Approaching star studies through performance theory helps explore a wealth of filmic techniques and per formance tactics. This article focuses on Tony Leung Chiu - Wai＇ s ＂self - effacing＂ performance of repetition and examines spe cial cases of play and liminality as well presence and absence in Chinese cinema. These cases challenge our conventional habit of thought and cognition and reveal an unlimited potential of alternative and alteration vis -a - vis history and reality.