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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