述說變裝：台北變裝製作領域中的商品原則與主觀性原則

Abstract

台北的變裝秀仍然是酷兒人士重要的娛樂活動，也是該市酷兒夜生活的重要特色。雖然先前對台北變裝秀場景的研究聚焦於透過變裝表演建構多元性別，但尚未有研究探討變裝在表演者生活更廣泛背景中的角色。為了填補這一空白，本論文進行了四次對台灣變裝皇后的訪談。使用生活敘事解釋方法（BNIM），讓變裝皇后構建他們的變裝生涯故事。在初步敘事完成後，根據BNIM方法論對變裝皇后進行了後續提問。總計收集了九小時的訪談數據。鑑於酷兒理論傾向於將變裝分析簡化為性別表演，以及它在台灣持續的殖民性和帝國主義認識論，本論文採用布爾迪厄的場域理論來分析每位皇后的敘事。通過這四個案例研究，塑造台北變裝場域的原則浮現了。台北的變裝受到兩個相互競爭的原則驅動：商品原則和主體性原則。商品原則代表由場域創造的商業壓力及變裝轉化為商品的後果。主體性原則將變裝視為自我表達的藝術方式，讓變裝皇后有權探索自己的身份和過去。在台北的變裝場域中，商品原則處於主導地位，而主體性原則讓變裝皇后能夠抵抗商品化的負面心理影響。此外，這些敘事揭示了變裝作為克服創傷的治療性影響。這些發現表明，台灣的變裝提供了獨特的進一步研究機會，並為理論化變裝提供了替代性資源。Drag shows remain an important recreational activity for queer people in Taipei, and an important feature of queer nightlife in the city. While previous research on Taipei’s drag scene has focused on the construction of multivalent genders through drag performance, no research has looked at the role drag plays in the larger context of performers lives. Attempting to fill this gap, this thesis carried out four, minimally structured interviews with drag queens in Taiwan. Using Biographical Narrative Interpretive Method (BNIM), queens were asked to construct the story of their drag career. After the initial narrative was finished, queens were asked follow-up questions in accordance with BNIM methodologies. In total, nine hours of interview data was gathered. Given both queer theory’s tendency to reduce analysis of drag to gender performance, and it’s perpetuation of coloniality and imperialist epistemologies in Taiwan, this thesis deployed Bourdieuvian field theory to analysis each queen’s narratives. Through these four case studies, the principles that structure the field of drag in Taipei emerged. Drag in Taipei is motivated by two competing principles: the commodity principle and the subjectivity principle. The commodity principle represents the commercial pressures created by the field and the consequent transformation of drag into a commodity. The subjectivity principle represents drag as an artistic mode of self-expression, wherein queens are empowered to explore their own identities and pasts through drag. In the field of drag in Taipei, the commodity principle sits in a dominant position, while the subjectivity principle allows drag queens to resist the negative psychological impacts of commodification. Additionally, these narratives reveal the therapeutic impact of drag as a vehicle for overcoming trauma. These findings suggest that drag in Taiwan presents unique opportunities for further research and offer alternative resources for theorizing drag.