Transformation of Values in Eldar Ryazanov’s Tragicomedy Trilogy: From the Perspective of Cultural Dimensions

Abstract

俄羅斯電影導演兼編劇梁贊諾夫的經典之作「悲喜三部曲」,包含《命運的捉弄》、《辦公室戀曲》與《兩個人的車站》,以抒情敘事為主軸,穿插詼諧滑稽的情節與衝突,描述上世紀七○年代中葉至八○年代初、蘇聯後期政治社會「停滯」時期,普通人民的日常生活、行為風格與愛恨情仇,並藉此批判社會現實。三部曲表層結構鋪陳的主要劇情符合觀者期待與觀影習慣,因此容易引起共鳴。此外,其能成為經典之因,還在於其深層結構蘊含的文化意義與價值體系。本文以荷蘭社會心理學家吉爾特.霍夫斯泰德所提之文化維度理論為基礎,梁贊諾夫悲喜三部曲電影文本為分析對象,探討蘇聯後期俄羅斯文化價值體系,表現出在具有高權力距離的傳統社會中,被約束的集體向自由的追求,人物性格剛柔兼具,並且柔中帶剛,以及對突破規範限制的渴望。

Russian film director and screenwriter Eldar Ryazanov’s classical works—his “tragicomedy trilogy” includes The Irony of Fate, An Office Romance, and A Train Station for Two—are based on the lyrical narrative and feature comical and ridiculous plots and conflicts. Ordinary people’s lives, behavioral styles, as well as love-hate relationships in the Soviet period of political and social “stagnation” are described in these films, which are used to criticize the social reality. The main stories in the trilogy conform to the audience’s expectations and viewing habits and, therefore, they resonate with viewers. Moreover, the reason that the films in the trilogy became classics is because of their cultural significance and the deep-rooted value system hidden in the very fabric of the films.