歌仔戲坤生性別與表演文化之研究; Gender and Performance Culture of Male Impersonators in the Taiwanese Opera

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Title:	歌仔戲坤生性別與表演文化之研究;Gender and Performance Culture of Male Impersonators in the Taiwanese Opera
Authors:	洪瓊芳;Chiung-Fang Hung
Contributors:	中國文學研究所
Keywords:	歌仔戲;坤生（女小生）;性別;表演;個案研究;Taiwanese Opera;Male Impersonators;Case Study;Performance;Gender
Date:	2010-07-11
Issue Date:	2010-12-08 13:58:16 (UTC+8)
Publisher:	國立中央大學
Abstract:	歌仔戲的相關研究研究累積至今已有相當成果，不過在性別與表演關係這一區塊，礙於難以取得受訪者自身性卅別認同的「自白」，所以一直無法深入做探討。本論文企圖突破以往田調之侷限，以個人多年與戲班接觸的經驗和培養之情誼，取得受訪者的信任，由她們現身說法講述其自身性卅別越界之現象，進而以實際案例研究歌仔戲坤生性別與表演之關係，建構歌仔戲坤生的表演美學。本論文從一個歌仔戲坤生的個案談起，從她複雜多變的人生經歷談到她個人的性卅別越界現象；接著擴充個案，談歌仔戲藝人的性卅別越界現象，並歸納幾種性卅別越界的類型，探討性卅別易動的可能原因。在眾多影響性卅別越界的因素中，特別挑出與表演藝術有關的部分來進行探討，並建構出歌仔戲坤生的表演美學，提出虛實交錯、雌雄同體的表演美學觀，這一部份是討論到坤生表演都會提及的論點，本論文的獨特觀點在於進一步提出坤生的表演美學就是T美學的概念，這樣的概念是基於每個人皆有雙性傾向的假設基礎下提出的。也就是因為每個人都有雙性傾向，才能說明何以坤生會讓女戲迷為之瘋迷，而坤生自身也藉由性別錯位的表演而創造出一種新的性別，T性別，且經年累月的易性演出，會讓她們更深地體悟到性別就是表演的概念，因此她們的性卅別觀也較一般人來得寬廣。 A great deal of results of Taiwanese Opera nowadays came pouring in. However, in the area of the relationship between gender and performance , a complete study is difficult to be made due to the difficulty of acquiring the honest confession of these performers about their gender identity. In this study, the researcher makes a new innovation in the present researches. To qualify for the trust of the interviewee, the author contributed to the stage crews for many years. In view of the deep friendliness, people can count on the author for a truthful report of the Gender Crossing experiences. According to these authentic examples, the researcher concentrates the attention on the relationship between gender and performance of these male impersonators and to build a. Aesthetic theory of them. This study starts with a personal case of a male impersonator of Taiwanese Opera, discussing the Gender Crossing phenomenon in her own life. Base on this, this article discusses the Gender Crossing phenomena of Taiwanese Opera performers, and concludes some typical kinds and sources of these phenomena. In such intricate patterns of these circumstances, this essay focuses on those related with Performing Arts. Many researches indicated that the important part of the Performance Aesthetics of male impersonators of Taiwanese Opera was gender identity. They have the vague idea what their internal self-awareness of being either male or female. In other words, the reality and performance confused them by their conflicting roles. In this study, the researcher makes a further and unique opinion, and indicates that the Performance Aesthetics of male impersonators of Taiwanese Opera is also a kind of Homoerotic Aesthetics. This conclusion is based on a hypothetical opinion that everyone has a tendency towards two genders. So that’s why a lot of female fans are so crazy to these male impersonators. Because of these performances, these male impersonators have access to creating a brand-new gender. After a whole lifetime of Gender Crossing performing, these performers comprehend that gender itself is a kind of performance. So they have more tolerance of different opinions of sex and gender than the community.
Appears in Collections:	[Graduate Institute of Chinese Literature] Electronic Thesis & Dissertation

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