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    Please use this identifier to cite or link to this item: http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/104822

    Title: 從偽裝到真實扮演 : 電影<<義大利人>>中自在的身體符碼
    Other Titles: From pretending to be real : the harmonious body code in "L'Italien"
    Authors: 陳舒婷;Chen, Shu-Ting
    Contributors: 淡江大學法國語文學系碩士班
    徐鵬飛;BOILEAU, Gilles
    Keywords: 身體;能量;觀看;真實;他者;自我認同;body;Energy;self-identity;watching;reality;others;corps;énergie;identité
    Date: 2015
    Issue Date: 2016-01-22 14:39:25 (UTC+8)
    Abstract: 電影 L’italien中故事的主角為移民法國的第二代阿爾及利亞人Mourad,其為讓自己在法國生存無往不利,將自己佯裝為義大利人,然而,在滿足自己欲望的同時,Mourad 失去了自我,也差點失去了未婚妻。經過一番波折之後,他才接受自己的身分也找回了自我。

    德國舞者碧娜‧鮑許(Pina Bausch)曾說:「我並不在乎人如何動,我更關心的是人因何而動。」筆者引用她的話提出問題:甚麼樣的內在能量讓人的身體「舞動」起來?環境的因素啟動Mourad的內在動能(Moule intérieur),也讓Mourad的身體「舞動」起來,讓他的身體「舞動」為義大利人,最後又回歸為阿爾及利亞人。

    由自我否定到自我認同的轉變,在於Mourad 想法的轉移,這個轉變使其從「觀看『他人』的觀看」的偽裝到「觀看自己」的自在,其過程內含反思能力,經過內化致其外在的改變,呈現出一種主動而自在的身體符碼。
    The leading role in L’italien is an Algerian of the second generation, Mourad, who pretends to be an Italian for being successful in French society. However, he loses himself, even his fiancée, Hélène after satisfying his own desire. It was not until he has gone through the ups and downs in his life that he accepted his own identity.

    Pina Bausch, a Germany choreographer, said, “I don''t care how they move, I want to know what moves them.” What she said reminds me think about what moves Mourad? The environment starts up his Moule intérieur that “moves” his body an Italian, then, resume him an Algerian.

    His alteration relies on his changing perspective on himself. Instead of thinking “I have to meet someone else’s expectation”, he “follows himself”. His cultivated experience finally showing him an easy but resolute body code.
    Appears in Collections:[Graduate Institute & Department of French] Thesis

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