弥补《暴风雨》中的幻象魔法:莎士比亚与朱莉·泰莫

Remediating the Magic of Illusion in The Tempest:Shakespeare and Julie Taymor

在最后一部剧作《暴风雨》中,莎士比亚塑造了普洛斯帕罗这一角色,他的"技艺"主要是控制那些碰巧来到岛上的人的视觉。我们可以从17世纪初伦敦戏剧界所发生的深刻变化的角度来解释普洛斯帕罗的这一魔法。当时,雇用专业演员的公司开始定期使用室内剧场进行演出。莎士比亚既是黑衣修士剧院的股东又是剧作家,他或许已经利用这种新式的剧场进行了反射光学的实验,以期令观众感到敬畏和惊奇。换句话说,莎士比亚和他笔下的普洛斯帕罗或可被视为伟大的舞台魔术师。有学者指出,《仲夏夜之梦》《麦克白》或《暴风雨》等剧作依赖了早期电影界典型的幻觉倾向和舞台魔法。笔者认为,朱莉·泰莫对《暴风雨》的银幕改编既可以被看成是沿袭了这一传统,与此同时又对其进行了革新。在这种传统中,不同的媒介和新技术竞相争斗,以期博得观众的注意力。我将重点研究,泰莫如何运用摄影和数码效果创造出一种混合的电影语言,以此重施普洛斯帕罗"粗陋的魔法",我认为这是对所谓"电影之死"做出的积极的(女性的)回应。

In his last play,Tbe Tempest,Shakespeare creates a character,Prospero,whose"art"seems to lie mainly in his capacity to control the sight of those who happen to inhabit his island.This aspect of Prospero's magic may be interpreted in light of the deep changes occurring at the beginning of the 17th century on London's theatre scene,when indoor playhouses began to be regularly used by the companies of professional adult actors.As a playwright who was also a shareholder of the Blackfriars Theatre,Shakespeare may have used the new playhouse as a place where experiments in catoptrics could be done aiming to cause awe and amazement in the audience.In other words Shakespeare and his Prospero may be acting as great stage illusionists.It has been remarked that plays like Midsummer Night's Dream,Macbeth or The Tempest depend on the same stage magic that characterized the illusionistic trend of early cinema.In my paper I would like to argue that Julie Taymor's screen adaptation of The Tempest may be seen as working within that tradition while at the same time updating it;a tradition,that is,where different media and new technologies compete and wrestle with each other to win the attention of the audience.I will focus,in particular,on Taymor's creation of a hybrid filmic language through the use of both photographic and digital effects-with a specific reference to her remediation of Brian Oglesbee's photographic experiments-as a strategy to re-enact Prospero's"rough magic,"in what I see as a positive(feminine)reaction to the so called"death of cinema."