《情慾飛舞》踰越情慾

Erotic Transgression in Carlos Saura's Tango

卡洛斯‧薩烏拉的音樂電影《情慾飛舞》，為一部精緻華麗的視覺詩歌，訴說身兼導演及劇作家雙重身分的馬利歐，在拍攝《探戈》影片時所產生的情慾危機，導演愛情生活經歷緊密地與當時阿根廷的探戈文化與歷史相互重疊與呼應。他的男性氣概在與前妻勞拉與女友愛蓮娜的情慾關係中，受到挑戰、折磨後重生；而製作人安傑拉與編舞家艾恩斯托也與他產生亦敵亦友的相生相剋關係，這繁複的五角關係如同阿根廷探戈論述所追求文化他者的建構過程。薩烏拉透過趣味盎然與意象豐富的探戈舞蹈與音樂，輔以後設電影繁複的敘事結構，以戲中戲跨越類型的想像，進而嘲諷男性霸權所受到的威脅，此恰可呼應劇中看似矛盾卻相生的自我／他者、性別／慾望、死亡／重生、禁忌／踰越等議題。筆者嘗試透過法國哲學家喬治‧巴代伊有關禁忌與踰越的情色論述，波赫士的迷宮敘述學，與後設電影中五重角色綿密的情慾關係，解構馬利歐如何在一連串「展演」式的探戈舞蹈場面調度中，彰顯主體與被男性社會所邊緣化的「他者」，在面對死亡與性別等禁忌議題時，反轉、形塑而重生。

Carlos Saura's musical film Tango, an audio-visual poem, is patterned upon the discourse of the Argentine tango in its pursuit of cultural otherness. The film elucidates the mid-life crisis of writer/director Mario reframed in an erotic site wherein his masculinity is challenged, distressed, and resurrected. With a playful metanarrative attached to love romance and dance spectacle, Tango crosses between the genres of melodrama and dark fantasy to conjure up the weakness of masculine hegemony threatened by murder and sexuality. A genealogy of the erotic via Georges Bataille's taboo-transgression relation substantiates the perception that Mario's self is being reconstituted in an erotic and sacrificial rite transpiring on the architectural terrain of tango dance and musical scenes. In these mise-en-scènes, the subject separates his ＂other＂ self from a patriarchal figure with the help of revisionist femme fatales Elena and Laura, as well as with his competitors, Ernesto and Angelo, who challenge him to avoid a living death. It is this quintet of five characters who create the tango microcosm of the film. Supported by his integral relationship with the camera and the mirror set in a cavernous rehearsal hall, Saura and his surrogate, Mario, challenge notions of conformity while reflecting the history of tango, ＂now and then,＂ in an interconnected multi- dimensionality worthy of Borges' labyrinthine narratives. As a symbolic metaphor and psychological meditation, tango serves to reflect Mario's configuration of the self/other and the encounter with sex and sexuality, death and resurrection, taboo and transgression. Eventually Mario's self, possessed by his mediators' otherness, desires a shift from the self to otherness and focuses intently on the coupling bodies, redoubling his excitement upon entering the maze of the tango.