“莎式圆融”或复调不确定性:《李尔王》电影改编的言说困境与跨媒介补偿

"Shakesphere"or Polyphonic Indefinition:King Lear Cinematic Adaptation's Expressive Deficiency and Cross-Media Compensation

莎士比亚戏剧(特别是悲剧)更适合以文字形式阅读,这是莎评史上由来已久的一派声音,19世纪以来支持者甚众。之所以如此,是因为莎剧中包含诸多抵抗视觉文本的特质,本文对莎评史进行梳理,将这个特质概括为“复调不确定性”或者“莎式圆融”,表示其语义的模糊与闪躲,以及多声部主题的角力与并协。在探讨莎剧电影改编时,这一视角不仅依然适用,并且敞开了新的空间。本文以柯静采夫的《李尔王》和黑泽明改编自该剧的《乱》为例,探讨莎剧“复调不确定性”在镜头语言中难以避免的言说困境,以及实现跨媒介补偿的可能性。

It has been a long-standing argument in Shakespearian criticism that Shakespeare's plays,especially his tragedies,are more suitable to be appreciated in the form of written text.This argument has been supported by many critics since the 19th century.The reason lies in the fact that there is some kind of irreducible kernel in Shakespearean drama that resists visual text.This essay dives into the history of Shakespearian criticism,and coins the term"Shakesphere"(polyphonic indefinition)to describe the Bard's vertiginous dialogism found on both semantic level and thematic level.When it comes to cinematic adaptations,not only is this perspective applicable,but also it opens up new space.By analyzing Kozintsev's King Lear and Kurosawa's Ran,this essay demonstrates how his polyphonic indefinition inevitably leads to the difficulties in lens language as well as indigenous artistic possibilities that answer to the timeless call of this playwright of all seasons and climes.