Author: |
陳瑄 Chan Shuen |
---|---|
Thesis Title: |
雙重易裝:梁祝易裝劇場中的酷兒操演 Double-Dressing: Queer Performativity in Liang-Zhu's Cross-Dressing Theatre |
Advisor: |
黃涵榆
Huang, Han-Yu |
Degree: |
碩士 Master |
Department: |
英語學系 Department of English |
Thesis Publication Year: | 2011 |
Academic Year: | 99 |
Language: | 英文 |
Number of pages: | 112 |
Keywords (in Chinese): | 梁祝 、變裝 、反串 、茱蒂‧巴特勒 、酷兒操演 、《魂魄唔齊》 、凌波 、任劍輝 |
Keywords (in English): | Liang-Zhu, cross-dressing, fanchuan performance, Judith Butler, performativity, Demi-Haunted, Ling Po, Yam Kim-fai |
Thesis Type: | Academic thesis/ dissertation |
Reference times: | Clicks: 208 Downloads: 22 |
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本論文以變裝為中心,探討民間故事梁祝所呈現的性別混亂和酷兒潛在性。不少梁祝的現代改編都對同志議題加以著墨,視祝英台之易裝為同性戀的暗喻,因此,不難在其中發現將易裝和同性戀硬性掛鉤的傾向。針對這一點,本篇論文強調易裝的矛盾性質,並質疑認定易裝與同性戀必然有關的看法,在以易裝(而非同性戀)為重心的前提下,尋求突顯梁祝之酷兒面向的其他可能性。本論文提出中國戲曲中的反串傳統可把梁祝的酷兒性發揮至極至,當文本梁祝的內在易裝與戲曲梁祝的外在反串在舞台上結合時,會產生一個「雙重易裝」結構。本文借用茱蒂‧巴特勒的性別操演理論,討論該雙重易裝結構作為酷兒表演如何在舞台上下建構性別,不只強化了梁祝的酷兒性,同時在反串演員的身上製造性別混亂,塑造其延伸至台下的酷兒形象。
本篇論文共有三章。第一章探討梁祝戲曲中的雙重易裝結構,以及該結構如何深化梁祝的酷兒面向。第二章以香港電影《魂魄唔齊》(2002)為例,分析其中所呈現的雙重易裝結構,以及反串表演如何把反串演員塑造成為酷兒角色。第三章討論反串表演在反串演員離開舞台後的延伸,以及透過反串表演建立第三性別的可能性。
This thesis seeks to identify cross-dressing as the root of gender trouble and queer potential of Liang-Zhu. Taking into account the paradoxical nature of cross-dressing, it questions the overemphasis of homosexuality and the tendency to associate cross-dressing with homosexuality in the contemporary queer adaptations of the legendary Chinese romance in different art forms. To clarify the unnecessary linkage between cross-dressing and homosexuality and to look for an alternative to queer Liang-Zhu without losing focus from cross-dressing, the thesis proposes that the queerness of the folktale is most fully manifested in the traditional operatic performance of Liang-Zhu (than in the queer adaptations) in which the theatrical convention of cross-dressing (or fanchuan) is well reserved until today. The thesis ventures to see a “double-dressing” structure in Liang-Zhu operas where a combination of the internal cross-dressing plot of the Liang-Zhu story and external stage impersonation can be found. In light of Judith Butler’s notion of performativity, the double-dressing is considered as a queer performance whose gender-constitutive effect extends beyond the stage to queer not only the Liang-Zhu original, but also the body and the off-stage gender(ed) image of the fanchuan performer.
The thesis consists of three chapters. Chapter One studies the double-dressing structure in Liang-Zhu operas and how it queers the Liang-Zhu original. In Chapter Two, the 2002 Hong Kong film Demi-Haunted is introduced to illustrate how the double-dressing structure constructs the fanchuan performer as a queer figure. Chapter Three focuses on how fanchuan performers, as queer figures, are received off-stage and contemplates the possibility of a third-gender identity.
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