王禎和曾提及最愛鬧劇（farce），《大車拼》是他最後一部鬧劇作品，對於王 禎和何以撰寫《大車拼》深層的動機與當時台灣社會發展的關係，以及王禎和所 採取的諧謔技巧與台語電影鬧劇經典《王哥柳哥遊台灣》的淵源，是本文所欲探 討的方向。1988 年王禎和創作電影劇本《大車拼》，率先將當時盛行的「自力救 濟」寫進劇中，王禎和敏感於八○年代快速發展的台灣社會結構不論經濟、階級、 城鄉皆在鬆動，再加上解嚴後「集會遊行法」的誕生，更使台灣社會多元發聲， 在劇本《大車拼》中，他以台灣南部小村莊的村民到公路局靜坐抗議，直到成功 爭取城鄉通車所衍生的一連串滑稽突梯為劇情主軸，藉由中下階層的鄉下人進城 接觸都市文化，呈現商業都會種種光怪陸離的消費現象與拜金主義，深刻地凸顯 台灣邁入後工業社會所衍生的社會議題。

Responding to the rapidly developing Taiwan’s social structure having become loose over economics and social classes in the 1980s, as well as the diminishing differences between city and countryside, Wang, Chen-ho first wrote the then prevalent “self-defense” down to his screenplay “Da Che Pin” under a background of the Parade and Assembly Law being carried into effect after the lifting of martial law. The story line was unfolded with a series of funny events in southern Taiwan incurred by a villagers sit-in protest striving for having the village opened to traffic, and thus the social issues derived from Taiwan’s entering into post-industrial period were given prominence by means of a farce expression of contacting the bizarre and motley urban culture when those rustic from lower middle class could finally go into town via the traffic. Wang once mentioned farce is his favorite, and Da Che Pin, as his last farce work, revealed Wang’s artistic practice to farce creation. This paper aims to explore Wang’s farce thought in writing the screenplay of Da Che Pin with three dimentions. Firstly, analyzing the three-act drama structure of the screenplay and Wang’s artistic thoughts of using parody and collage techniques. Secondly, discussing the inspiration, for Wang to write the Da Che Pin screenplay, which was enlightened by a early Taiwanese language cinema “Brother Liu and Brother Wang on the Roads in Taiwan”. Lastly, dissecting the darker issue of the epoch, Taiwan society then faced with, which was implicitly contained in Wang’s screenplay Da Che Pin, a work wrote after the lifting of martial law.