戲耍詭計與詭異：周星馳電影的戲劇策略

Abstract

本文主要探討周星馳電影中的喜劇策略，以閱讀周的兩部電影《情聖》、《回魂夜》分析周的喜劇表演方式以及不同時期的改變，並從兩個面向析論。首先，從香港喜劇電影發展歷史回顧周的發跡以及定位；再探討周的電影及表演方式不僅僅只局限於搞笑與無厘頭，更試圖將無厘頭轉為一種氛圍；本文以九七移交做為周的電影探討社會議題之例，指出周的電影不僅關注社會，亦嘗試討論人與人之間的關係及情感；最後討論周的悲觀反英雄式的作品呈現。 首先，本文藉由分析《情聖》指出周在早期慣用的喜劇策略。透過分析此片完整的喜劇結構以及對白，探討周利用誇張肢體語言以及搞笑橋段製造喜劇氛圍並成就早期的成功。除此之外，此片亦嘗試帶進九七移交前中產階級的焦慮以及身分認同的混淆與渴望。 再者，本文從《回魂夜》中周星馳的疏離形象探討周的表現手法轉變。藉由疏遠早期土包子形象，周嘗試更為嚴肅的外型，無厘頭手法也不再只是誇張的肢體動作。此形象同時使周本身成為令眾人懼怕的對象，也呈現出香港人在九七移交前的集體恐慌；此片最後回到原有主題的爭議：究竟瘋是不瘋？回應了九七移交前的混亂及未知。 最後，總結這兩部電影，周星馳電影中的無厘頭元素一直存在，其手法跟著時代不同而改變並參雜情緒；其令人發笑但背後蘊含周想表達探討的社會議題。曾經令觀者認為的搞笑，其背後帶有悲觀的氛圍，與時事結合，呼應周的喜劇呈現手法不再只是讓觀者開心，而是以嘲弄的方式提供觀者更多參與批判討論的空間。

In this thesis, I try to focus on Stephen Chow’s comic devices from two directions in his films The Magnificent Scoundrel and Out of the Dark. First of all, I revisit the history of Hong Kong comedy and start to bring up the significance of Chow’s films and performing style. I argue that Chow tries to convey the ideas which respond to the social events in different periods of his films. I suggest that he deals with the issue of the 1997 handover in Hong Kong in his films. In addition, though being the hero in his films, Chow paradoxically subverts the idea of heroes, and wulitou tends to be his device to mock on the idea. As a result, wulitou would not be the main concern in his films but it builds up an atmosphere, chaotically discusses the central social topics. First, I analyse the comic structure in The Magnificent Scoundrel. Chow uses physical gags and exaggerating facial expressions to perform the comic events in his early comic acting. Also, this film presents the anxiety that middle class would have and suggests the confusing mis-identity that the characters have. Chow’s funny comic events help to dissolve the anxious feeling and also reflect the social atmosphere. Second, I probe into Chow’s unfamiliar figure in Out of the Dark. I argue that whilst being the ghost buster, Chow’s character Leon and Chow’s own image turn out to be the uncanny dread that reminds his viewer the upcoming handover which frightens most of the people in Hong Kong. By focusing more on the mental status and the inner side of human beings along with black humour, Chow changes his performing style and implants more ideas on humans into his films. The purpose of my thesis is first to examine Chow’s famous wulitou device to discuss how he builds his stardom and opens his era in Hong Kong comedy history and further concentrate my argument on Chow’s performing style and his concern about social events. By examining the films I seek to suggest that Chow’s films do not always seem merely playful and nonsense, but rather a more pessimistic and chaotic aura in his films which repeatedly explore the deeper inner side of humans and the social events