一出存在主义的境遇剧——《刺客聂隐娘》的一种解读

"Le Theatre de la Situation" of Existentialism:An Interpretation of The Assassin

改编自唐传奇、由中国台湾导演侯孝贤执导的影片《刺客聂隐娘》,给观众带来了一种陌生化的观影感受。本文认为,与唐传奇的干净利落、快意恩仇相比,《刺客聂隐娘》更像是一出存在主义的境遇剧。影片赋予聂隐娘不同于传统概念中刺客的意义,将其放入一个极具冲突同时又具有无限生发性的情境中,在她对田季安"杀,还是不杀"这样的延宕中,由她自己的自由意志决定了其存在的意义,完成了由取人性命的刺客到护人返家的侠客的转变。影片故事情节看似淡薄、疏离,实则内蕴丰富,有着古希腊悲剧似的紧凑感,影片以聂隐娘的视角为中心,演绎出"存在先于本质"的存在主义哲学理念。

The Auassin, directed by Hen Hsian - Hsien in Taiwan, is his first movie publicly screened in the main land of China. This movie, adapted from a piece of old legend of Tang Dynasty, showed the audience a feeling of ＂defamiliarization＂. This article holds the ideas that the movie, contrasting to the original legend of Tang Dynasty, is more like ＂Lo Theatre de la Situafion＂ of ＂Existentialism＂. This movie sets up a situation full of collision and possibility for the main character Nie Yin - niang, and therefore, in the procrastination of ＂to assassinate or not to assassinate＂, it provides her the free will which can accomplish her existence and nature as an individual.