本論文旨在探討女性劇作家佛尼斯 (Maria Irene Fornes) 如何運用史詩
劇場與女性主義劇作理念創作其名著<生活方式>及<菲芙和她的朋友們>.
前言簡介性別議題在女性主義論述中之發展,並提及佛尼斯劇作中對於性
別問題之處理方式.第一章介紹布萊希特的姿態論及其沿革,以及女性主義
如何挪用此策略並探究二者結何而產生之女性主義姿態論.第二章以布萊
希特的姿態語言以及女性語言為討論對象, 探討如何藉由女性語言特質改
進史詩劇場的對話型態.第三章則以性別為劇作背景姿態, 分別討論傳統
性別角色扮演,以及在性別角色互動下而產生的暴力與婚姻問題.第四章從
姿態語言的角度,探討性別角色對語言使用的不同,以及佛尼斯利用史詩劇
場表現女性語言特質的方法.結論總評佛尼斯運用各種不同的姿態策略的
成就,以史詩劇場姿態論理念與女性劇作概念如何成功地互相結合,為讀者
及觀眾開拓另一種戲劇詮釋方式.

This thesis intends to explore Fornes' achievement of
combining BrechtianGestus with feminist theory.Introduction
briefly delineates the development ofgender issue in feminist
discourse, and mentions Fornes'discussion of genderissue. In
Chapter One, the historical developments of Brechtian Gestus and
thetheoretical background of feminism will be investigated
separately. Theexploration of the Gestic feminist criticism
which combines Brechtian Gestusand feminism will be the other
part of this chapter. In Chapter Two, BrechtianGestic language
and female language are the two strings. Through
thecooperation of Gestic lnaguage and female language,
Fornes improves thepatriarchal usage of language in epic
theater by means of the employment ofwoman language. Chapter
Three focuses on the gender Gestus. The explorationincludes not
only traditional gender role-play, but also violence and
marriagein the interaction of gender roles. Different
language usages of genderroles from the perspective of the
correlation of Gestic language and womanlanguage will be
analyzed in the Chapter Four. Methods of Fornes'
theatricalperformance will be explored in order to
understand how Fornes takesadvantages of stage arrangements
in epic theater to reveal various qualitiesof woman language.
In the concluding chapter, I display that Fornes
providesreaders or audience new interpretations of gender
relationships in theform of epic theater whose spirit is
feminist concern.
This thesis intends to explore Fornes' achievement of