本論文旨在探討霹靂布袋戲中的扮裝角色。霹靂公司為台灣最大的布袋戲公司，一直以來皆致力於提升布袋戲文化，編寫出許多性別扮演的故事，並著重於扮裝角色。為了使布袋戲的接受度更廣，霹靂布袋戲嘗試著反應出社會大眾的性別觀念。另一方面，霹靂布袋戲以性別規範這類主題，提出許多爭議，顯示出二元性別的不穩定性。本論文的第一章討論配音是如何既定的性別概念來扮演角色，特別在某一角色的聲音與之其他的性別特徵不甚符合，例如男性角色配上女性的聲音，這樣的畫面與聲音對於觀眾而言，相當可能造成性別認同的困難。在分析扮裝角色的展演和二元性別觀的相互作用下，第二章關切的是，性別規範的操弄是如何凸顯出性別之間界線模糊的問題。本章節末，也評論隱匿自身性別的女性角色，是如何達到以女性身分無法達到的成就，引出第三章探討霹靂布袋戲對女性角色的認同。霹靂布袋戲認為女性角色藉著展現其領導才能，面對問題的堅毅，和對完成社會責任的承諾等等特點，比之原有的地位，更展現出個人成就和社會認同。第四章簡述前三章所提及的性別扮演之特性，並加入探討一位新的角色，步香塵，這位新角帶給霹靂布袋戲的性別扮演，一個新的性別觀，不同的衝突。 ;This thesis is a study of the drags in Pili Budaixi. As the largest puppetry company in Taiwan, Pili Budaixi has been devoting great effort to promoting budaixi culture. It offers a great variety of gender plays and focuses on drag characters. To enhance its popularity, it has tried to reflect social conceptions of gender. On the other hand, it participates in debates over the gender norms by staging the instability of gender binarism. Chapter one discusses how dubbing plays with gender conceptions when the voice of one character does not go with his or her other gender traits. When a male character speaks in a female voice, that may create difficulties for the audience in gender identification. Analyzing the interplay between the display of drags and gender binarism, chapter two is concerned with how the manipulation of gender norms highlights the problem of gender ambiguity. Commenting on how gender disguise allows women to do what they are unable to do as women, chapter three argues that Pili Budaixi affirms women’s achieved status rather than ascribed status by demonstrating their capacity for leadership, their endurance in facing difficulties, and their commitment to fulfilling their social responsibilities. Chapter four recapitulates the characteristics of gender plays the thesis has discussed in the first three chapters while adding a new perspective by commenting on how a new character, Bu Xiang- chen, gives a new twist to the gender plays.
