獨白、毒白？：莎士比亞「關鍵性獨白」之舞台表演VS.影像表演

Soliloquy or Tirade?: Shakespearean Killer Soliloquies on Stage vs. in Cinema

獨白（solloquy）這一人獨講的長篇大論，在莎士比亞戲劇中具有特殊的重要性，而「關鍵性獨白」（killer soliloquy）更可說是角色内心最深刻情感所發出的肺腑之聲。對莎劇導演和演員而言，獨白不僅是極高難度的表演技巧，也是豐富角色生命能量的最佳武器。自莎翁時代以降，「直接演敘法」（direct address）一直是莎劇舞台上慣用的獨白表演方式，然而直接演敘法移植到電影世代就出現了嚴重的落差。當莎劇移植到大螢幕時，由於重要的莎劇獨白難以割捨，許多莎片導演處理頭痛的獨白多是經過修正，使之可以配合電影的特質。電影導演襲用的寫實主義式的自然生活化表演縱然適合嵌入電影媒介中，然而過度自然的演技將使莎劇語言失去魔力，劇場式演技自然是莎劇演出的主要依歸；然若在電影特寫鏡頭中依舊使用大而誇張的表演方式，不免令人感到虛假。如何消弭兩個媒介之間的距離，使各自的優點皆可保存，便成為莎劇導演一大功課。此外，有些莎片導演傾向刪減獨白台詞，改以電影自身的影像式語言來訴說獨白的主旨。然若手法粗糙，很容易扼殺莎劇原著的深度和詩意，也易將莎劇迷人的獨白表演淪為一場災難性的影像演出。因此，如何保留莎劇獨白原有的詩意和深度，又不受制於獨白繁多冗長的台詞，就成為近幾十年來莎片導演的一大困難功課。以上兩點是莎片導演在處理獨白碰到的最大挑戰，也是本文的研究核心所在。 Soliloquy, the long speech delivered by one single character, plays a pivotal role in Shakespearean theatre. Killer soliloquies, in particular, discloses the deepest and most honest expression of characters' thoughts or feelings. For the director and actor, soliloquy not only requires highly difficult performing skills, it also gives life to and best highlights the character's unique personal strength. Since the time of Shakespeare, “direct address” has been the customary acting style in the Shakespearean theatre; however, when this approach was transplanted in the cinematic arena, a huge gap began to occur. When Shakespearean plays were shown in cinematic screens, killer soliloquies that could not be dispensed left directors little choice but modify difficult ones to fit the aesthetics of the cinema. The natural, everyday-life acting style of the realistic convention employed by the directors though suitable for the media of film, yet the overly plain performing techniques diminish the magic of the Shakespearean language. Theatrical performing style is naturally the foundation of Shakespearean theatre; however, acting in pompous and exaggerated fashion before the lens free to zoom in limitlessly would appear as faking. How to cancel the distance between the two media and preserve the advantages of each style constitutes a major task for directors of Shakespearean films. Moreover, some directors tend to omit parts of a soliloquy and use the language of filmic imagery to address the theme of the soliloquy. Yet, a less-than-subtle technique of such editing would kill the original depth and poetic essence of Shakespeare's plays, and turn the charming soliloquy rendition into a disastrous imagery presentation. Therefore, how to preserve the original poetic elements and depth of Shakespearean soliloquies without being confined by their lengthiness and wordiness becomes a major task befalling Shakespearean directors of recent decades. The foregoing two points are the greatest challenge for directors handling Shakespearean soliloquies, and also the core of this paper.