象徵界的絕緣體──永遠的男主角李康生

The Insulator of the Symbolic - The Leading Actor Forever, Lee Kang-Sheng

本文從「為什麼是李康生成為蔡明亮影像的主角」開始展開，此命題不同於「什麼是電影？」「什麼是影像？」它思考的是此演員在蔡明亮創作中所產生的影響。電影評論長期欠缺一種創作習性的觀察，而蔡明亮的生命中「長期使用同一演員」是一個不能忽略的現象，為探索這將近三十年的合作關係如何左右其發展。本文採法國精神分析家拉岡的鏡像階段理論，來檢視一個影像綻出時可能會遇上的各種阻力。於《小康》、《一念》這兩部短片中，李康生是唯一的主角，從中可發現這位演員緩慢、生澀的物質性，逐漸讓象徵界的阻離作用失效了。當蔡明亮把李康生的慢走形體，提升到高於「我」的位階時，此倫理關係的改變讓他發現通向真實界的入口即在此。「什麼是演員」、「什麼是影像」原是兩個不同的命題，但是當蔡明亮決定以李康生的臉作為影像之臉時，拍片經歷已逐漸變成主體生成的特殊場域。

This paper began with “Why has Lee Kang-Sheng become the leading actor in Tsai Ming-Liang's imagery?”. This proposition, unlike “What is a movie?” and “What are images?”, gives thoughts to the actor's influence on Tsai Ming-Liang's creations. Movie review have long lacked observations of the creative habits. “The long-term choice of the same actor” throughout Tsai Ming-Liang's life is a phenomenon that cannot be overlooked in order to explore how the nearly 30 years of cooperation has exerted an influence on his development. This paper adopted mirror stage in the psychoanalytic theory of French psychoanalyst Jacques Lacan to examine possible resistance in image emerge. In the two short films “Xiao Kang” and “Single Belief”, Lee Kang-Sheng is the sole leading actor, which can be found that the actor's slow and rawness materiality makes the foreclosure effect of the symbolic lose efficacy. As Tsai Ming-Liang promoted Lee Kang-Sheng's form of slow walking into a rank above “I”, the change in the ethical relationship led him to the realization that it was the entrance to the Real. “What is an actor?” and “What is an image?” were originally two different propositions, but when Tsai Ming-Liang decided to use Lee Kang-Sheng's face as the face of the image, the filming process was gradually turned into a special field leading to the generation of the subject.