臺灣當代戲曲與戲劇中的性別展演
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2020
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本研究以臺灣當代戲曲為對象，指認其中的同性情慾與性別展演，並考察戲曲元素如何被現代戲劇作家挪用、再造及變異。臺灣自1990年代開始，同志運動積極開展，組織結社，宣傳發聲，而至今成為亞洲第一同志婚姻合法化國家，臺灣的性別多元文化深植臺灣文化內涵。在臺灣晚近的性別文化脈絡下，本文反思戲曲學界對於同性情慾再現的評論方式，筆者認為目前臺灣戲曲評論者皆不約而同地迴避了其中的同性情慾議題，將之簡化成女性情誼、抒情書寫，「殘／酷義肢化」了戲曲中的同性情愛。因此本文以此作為問題意識，試著重新挖掘臺灣當代戲曲──特別是京劇和豫劇──從國光劇團與臺灣豫劇團此兩組軍中劇團轉型發展至今，如何突破與呼應臺灣性別文化與時代變遷。主要探討兩劇團當代戲曲中的同性情慾和性別展演，並延伸討論汲取戲曲元素的臺灣同志戲劇當中性／別和國族，為臺灣當代戲曲與戲劇指出其特殊性，賦與多元的詮釋與視野。亦從而思考在積極建立臺灣同志文學史的同時，當代戲曲如何與之協商，甚或指認與認可。
本文主張在國光劇團《三個人兒兩盞燈》、《狐仙故事》中暗潛著「女性敘事」之外的女同情慾、酷兒家庭之可能，並展現敢曝美學所蘊含「雌雄同體」之意義，亦從中深化中國抒情傳統轉向至酷兒「感性」的再現。此外，本文也探討臺灣豫劇團莎士比亞戲曲《約／束》中如何重現角色間的同志情慾，並以此延及兩位學者對於《天問》相異的文化辯詰，從而重探臺灣文化主體的複雜認同，已非「中國傳統文化」，而是彰顯了臺灣現時此地的混雜多元文化，並以《蘭若寺》的同性情慾建立出臺灣特殊的性／別文化主體為見證。最後關注兩部以戲曲元素為素材的現代戲劇作品：創作社《少年金釵男孟母》與耳東劇團《服妖之鑑》如何化用戲曲傳統在角色與演員性別間展演出重層繁複的性別扮裝；且以流動的重層扮裝與同性情慾脫逸出臺灣白色恐怖時期的國家暴力，重探扮裝、性別和政治的共構互聯。本研究透過當代戲曲與戲劇的性別展演，分析出臺灣京劇和豫劇如何建構臺灣的性別多元文化面向，指認臺灣當代戲曲其特殊性，並以此回應臺灣當代戲曲與臺灣同志文學的脈絡與限閾。
In Taiwan, since 1990s, the LGBTQ movements have been vigorously developed through varieties of activities such as organizing groups and voicing through the media to make Taiwan become the first country where same-sex marriage is legal in Asia. In other words, Taiwan’s diverse gender culture is deeply planted in and enrich Taiwan’s cultural connotation. Among them, Taiwan’s Tongzhi (同志) literature, for instance, film, television, and modern theater are raising discussions; however, as part of literature and performing arts in Taiwan, the traditional opera (Xiqu戲曲) has always been ignored. Thus, this study aims to rethink the establishment of the history of Taiwan’s Tongzhi literature and the context of Taiwan’s Xiqu, which is to discover the same-sex desire and gender performance from the newly-adapted Xiqu (especially Peking Opera and Yu Opera). It also deeply considers the Sexualities and Nations of Taiwan’s contemporary dramas deriving from the traditions of Xiqu in Taiwan in order to point out the particularity of Contemporary Taiwan Xiqu then provide a diverse interpretation and vision. This thesis contains five chapters. The first chapter talks about the problematization and the text analysis, including terms definition and literature review. In the chapter two, the main part focuses on “Three persons and Two Lamps” and “Fox Tales” produced by GuoGuang Opera Company, discussing the meaning of lesbian desire and Camp aesthetics. Queer families in the two plays are also explored. In the next chapter, the primary idea is to analyze the same-sex desire and the cultural argument between scholars in the two intercultural operas of Shakespeare “Band” and “Questioning Heaven” made by Taiwan Bangzi Opera Company, and establishing Taiwan's special Sexual Subjectivity by the same company work “At Aranya Temple”. In the last chapter, discussing how to show gender performance and cross-dressing politics by using the tradition of Xiqu in two “quasi-Xiqu” contemporary dramas “He is my Wife, He is my Mother” and “Dress in Code”. In the last section of chapter five, summarizing the arguments of each chapter, which is mainly to rethink the interplay of “Xiqu” and “Gender Performance”.
In Taiwan, since 1990s, the LGBTQ movements have been vigorously developed through varieties of activities such as organizing groups and voicing through the media to make Taiwan become the first country where same-sex marriage is legal in Asia. In other words, Taiwan’s diverse gender culture is deeply planted in and enrich Taiwan’s cultural connotation. Among them, Taiwan’s Tongzhi (同志) literature, for instance, film, television, and modern theater are raising discussions; however, as part of literature and performing arts in Taiwan, the traditional opera (Xiqu戲曲) has always been ignored. Thus, this study aims to rethink the establishment of the history of Taiwan’s Tongzhi literature and the context of Taiwan’s Xiqu, which is to discover the same-sex desire and gender performance from the newly-adapted Xiqu (especially Peking Opera and Yu Opera). It also deeply considers the Sexualities and Nations of Taiwan’s contemporary dramas deriving from the traditions of Xiqu in Taiwan in order to point out the particularity of Contemporary Taiwan Xiqu then provide a diverse interpretation and vision. This thesis contains five chapters. The first chapter talks about the problematization and the text analysis, including terms definition and literature review. In the chapter two, the main part focuses on “Three persons and Two Lamps” and “Fox Tales” produced by GuoGuang Opera Company, discussing the meaning of lesbian desire and Camp aesthetics. Queer families in the two plays are also explored. In the next chapter, the primary idea is to analyze the same-sex desire and the cultural argument between scholars in the two intercultural operas of Shakespeare “Band” and “Questioning Heaven” made by Taiwan Bangzi Opera Company, and establishing Taiwan's special Sexual Subjectivity by the same company work “At Aranya Temple”. In the last chapter, discussing how to show gender performance and cross-dressing politics by using the tradition of Xiqu in two “quasi-Xiqu” contemporary dramas “He is my Wife, He is my Mother” and “Dress in Code”. In the last section of chapter five, summarizing the arguments of each chapter, which is mainly to rethink the interplay of “Xiqu” and “Gender Performance”.
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臺灣當代戲曲, 京劇, 豫劇, 國光劇團, 臺灣豫劇團, 扮裝, 酷兒, 同性情慾, 性別展演, 同志文學, 少年金釵男孟母, 服妖之鑑, Contemporary Taiwan Xiqu, Peking Opera, Yu Opera, GuoGuang Opera Company, Taiwan Bangzi Opera Company, Cross-dressing, Queer, Same-sex Desire, Gender Performance, Tongzhi Literature, He is my Wife, He is my Mother, Dress in Code