论陆、港两个版本《棋王》的电影创作——从创作心态、叙事策略及“棋王精神”三个维度进行探讨

On the Creation of Two kinds of Chess King in Mainland and Hong Kong——From Three Dimensions of Mentality,Narrative Strategy,and “Chess King Spirit”

陆、港两地导演对大陆作家阿城和台湾作家张系国《棋王》的故事改编上所呈现出的"棋王精神"气质的变异,凸显了两岸知识分子创作心态上的差异。大陆版《棋王》的"传奇叙事"策略,将苦难意识进行了"苦难化"的呈现,偏离了传奇叙事的轨道;而港版《棋王》(阿城小说改编部分)则是将苦难意识与传奇性打通,呈现出知识分子的高贵品相。

The variation of the temperament of the ＂Chess King Spirit＂ on the adaptation of the mainland writer A Cheng and Taiwan writer Zhang Xi-guo＇s Chess King shows the differences in the mentality of intellectuals on both sides of the strait. The ＂legendary narrative＂ strategy of the mainland version of Chess King strengthens the suffer- ing consciousness, deviating from the legendary narrative track; while Hong Kong＇s version （A Cheng＇s adaptation ） is the combination of suffering consciousness and legendary story, showing the noble elements of intellectuals.