臺灣崑劇乾旦曲友的空間、性別與身體的跨越

本研究希冀了解當代臺灣的崑劇乾旦曲友如何透過與空間互動，轉換男性性別為女性以達到好的表演。中國戲曲崑劇在臺灣由曲友等人傳承仍在舞台上發光，少數男性曲友學習女性腳色的旦角；戲曲行話稱男演員扮飾的旦角為乾旦。當今臺灣社會對性別觀念仍相對保守，少數男性曲友仍選擇學習旦角，其選擇原因，如何轉換性別在舞台上表演，及如何面對社會與性別規範仍值得探討。崑劇表演舞台一般缺乏寫實布景與道具，乾旦曲友要如何在近乎空無的舞台上表演劇情與劇中女性，乾旦曲友如何與空間互動來表演，也是本研究的發問。我於大學時期學過崑劇旦角而成為曲友，因此我透過撰寫自我民族誌(autoethnography)以我的學戲表演經驗作為切入視角。我也訪談其他乾旦曲友，將自己與他們的經驗對比討論，並建構當代乾旦曲友的性別與表演框架。而崑劇藝術已有五百多年歷史，我亦爬梳古代崑劇乾旦的表演文獻，以建構古代乾旦的性別表演架構並作為當代乾旦表演的理論基礎，也對比古今之間的異同。我檢視自己與受訪者的學戲表演歷程與空間經驗，我發現乾旦曲友透過程式規範、唱唸作舞來轉換性別並進入表演狀態也跨越性別框架，同時凝聚自己的性別意識並形成一種酷兒性(queerness)，此酷兒性應是在追求藝術性之後的延伸展現。我也發現乾旦曲友在學戲表演中經歷現實環境、劇本文學與個人身體此三種時空脈絡，在缺乏寫實景物的舞台設想劇中情景，運用身體感知經驗並結合程式規範來揣摩空間感。乾旦曲友以個人身體結合現實環境與劇本文學的時空脈絡，進而表演出劇中空間意義與轉換性別。

關鍵字

空間；性別；身體；崑劇；乾旦曲友；自我民族誌

並列摘要

This thesis investigates how Kun opera qiandan amateurs in contemporary Taiwan interact with spaces and transform their gender in order to perform well on stage. In xiqu a few male amateurs called qiandan(乾旦) play female type roles, danjiao(旦角). Under the conservative gender norm in Taiwan, it is valuable to research why those male amateurs choose danjiao, how they transform their gender, and how they face the social norm. Besides, how qiandan amateurs act female roles on the empty stage and how they interact with spaces to perform are the questions of this thesis as well. Autoethnography was firstly employed in my research because I have been a qiandan amateur since college. Then, I interviewed other qiandan amateurs as well in order to construct the frame of the gender performance of contemporary qiandan amateurs. Lastly, to compare the differences in the frames of gender performance between the past and the present, I reviewed the literature from late Ming dynasty to middle Qing dynasty regarding to this subject. I conclude that qiandan amateurs transform their gender by using performance formula and passing over or crossing over the gender frames. Meanwhile, their gender consciousness becomes a kind of queerness which is extended after qiandan amateurs explore Kun opera art. I also insist that qiandan amateurs go through the real environment, the drama literature and the individual body of space-time contexts when they perform with their bodies. Qiandan amateurs apply the bodily perceptions and performance formula to imagine the scenes in the drama.