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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4435


    Title: 台灣90年代小劇場的性多元再現;Theater Representation of Sexual Plurality in Taiwan (1990-99)
    Authors: 陳亮君;Liang-jun Chen
    Contributors: 英美語文學研究所
    Keywords: 劇場;性別;;表演;性多元;同性戀;sexuality;sexual plurality;homosexuality.;performance;theater
    Date: 2008-01-11
    Issue Date: 2009-09-22 09:19:15 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract:   在這篇論文裡,我想要探究九0年代台灣性別相關小劇場表演的社會性功能。在那個剛解嚴的時代裡,小劇場工作者們利用舞台表演來發表他們對於性多元的看法。他們的作品反映了性多元主體的生存困境,也批判了來自性單一規約的壓迫。於是我提問:小劇場再現了什麼樣的性多元?用什麼樣的劇場手法?以及,這些劇場工作者為什麼要呈現這些作品? 在第一章裡,我提出自1987年解嚴後,一些劇場工作者用他們的作品直接衝撞了社會的性道德,在接下來的九0年代裡,這些關心性別議題的劇場工作者們與性解放論述的學者,兩造之間巧妙的形成一股同盟關係,都為了挑戰既有的性/別規約。性解放論述提供了我分析這些性多元表演作品的理論基礎,於是我在第二章裡分析了三個重要的劇場作品,發現「痛苦」是這些劇場工作者們企圖突顯的主題,因為,痛苦來自於長久累積的性/別壓迫。在第三章裡,我討論了魏瑛娟與吳大綱的作品,發現他們的作品持續討論性多元痛苦的主題,但在手法上多了些喜劇的成份與視覺上的愉悅感。當然,這種劇場手法的轉變不代表性別壓迫已被完全解放了,但它代表了性多元在劇場中被再現的可能性是持續進化著的。最後,這些性多元作品不僅為小劇場文化累積素材,無形之中更培養著一群理解、認同,也支持性多元再現的觀眾。   In this thesis I aim to explore the social function of sexuality performance in the little theater during the nineties of Taiwan. The little theater artists made their social debates on the theme of sexual plurality on stage. In the nineties, in the space of little theater, their works reflected the living difficulties of sexual plurality group and criticized the unitary sexual code’s oppression. My investigation began by asking what kinds of sexual plurality have been represented in the little theater, by what theatrical skills, and the possible reasons of theater artists’ putting on these performances.   I assert in the first chapter that after the lift of martial law in 1987, some theater artists composed works which directly confronted the society’s sexual morality. In the following decade, theater artists who concerned about sexual plurality formed a coincident alliance with sexual emancipation scholars to try to challenge the rigid sexual norms. The discourse of sexual emancipation provided a theoretical base for my analyzing the meaning of sexual plurality performances. I then chart three important theater works in Chapter Two, and propose that the theme of pain was so highlighted by theater artists in their works that it reflected the ever-existed sexual oppression. In Chapter Three, I continue to bring out that the theme of pain has been seasoned by comic flavor in other works by other artists who also took sexual plurality rights to heart. Although the theatrical change could not prove that the sexual oppression has already been fully emancipated, it indicated that theater representation of sexual plurality became more developed. Finally, I conclude that these sexual plurality works made contributions to the little theater cultural resources on the aspects of theme, character and theatrical skills. Through these works, artists helped to cultivate a group of audience who supported sexual plurality representations.
    Appears in Collections:[英美語文研究所 ] 博碩士論文

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