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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
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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.

    Chinese Abstract i English Abstract iii Acknowledges v Table of Contents vii Introduction 1 I. Liang-Zhu and Cross-Dressing 2 II. Two Queer Adaptations of Liang-Zhu and Their Limitations 7 III. The Paradox of Cross-Dressing 13 IV. Gender Performance: An Alternative Way to Queer 17 Chapter One Queer Performativity and Double-Dressing: Queering the Stage of Liang-Zhu 23 I. The Standardization of the Yueju Opera Liang-Zhu 24 II. Queer Performativity and Fanchuan Performance: Constituting an Effeminate Liang Shanbo 28 III. Double-Dressing in Liang-Zhu Operas: The Encounter of Two Queer Figures 33 Chapter Two Demi-Haunted: The Queer Body in Performance 45 I. From Double to Multiple: The Rewriting of Liang-Zhu’s Double-Dressing in Demi-Haunted 46 II. The Nonreturnable Crossing and the Unceasing Gender Play: Ji Wan-fei, Zhu Yingtai, and Cheng Dieyi 57 Chapter Three The (Off-Stage) Queer Image of Fanchuan Performer 69 I. Crossing Fiction/Reality: The Cross-Gender Image of Ji Wan-fei, Ling Po and Yam Kim-fai 70 II. Anticipating the Third: The Off-Stage Fanchuan Performance 80 Conclusion 95 Works Cited 101 Chinese Glossary 107

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