- 期刊
- OpenAccess
行當與性別表演－兼論《狐仙故事》的人物塑造及其戲劇性
Hang-Dang and Gender Performativity: Study on the Characterization and the Theatricality in Fox Tales
摘要
京劇中有以男性演員扮演女性人物的「乾旦」，然而，乾旦的表演重心不在於表現身體的性徵，旨在建構女性的文化符碼，強調技藝之展演；其表演意義不在於塑造一個性徵上的女人，而是在舞臺上創造一個女人的意象。坤生亦如是，藉其技藝以臻雌雄難辨的演出境界。國光劇團2009年新編京劇《狐仙故事》，劇中狐仙乃是合男女二性為一體的人物，並以一生（盛鑑）一旦（朱勝麗）於劇中共同飾演，達到「生中有旦、旦中有生」的訴求，透過此性別表演而在舞臺上達成相關的戲劇性。本文將循序討論：一、京劇「乾旦、坤生」的歷史簡顧，進而析述行當在性別身分建構與表演的意義；二、評析當代京劇《狐仙故事》雙性合一而達成的戲劇效果，並申述由此省思而成的性別意義。
並列摘要
There have the male performers to impersonate female characters in Beijing Opera and be called "Qian-Dan", and had became the one of Beijing Opera 's cultural Imageries. However, they emphasized the performance in female symbols be making, not the sexuality body. They will create the female images on stage, and not make a sexuality woman. Be like "Kun-Sheng" to reach the confines be not distinguishes female and male. The protagonist in New Beijing Opera "Fox Tales" by the Guoguang Opera Company is the transgender character being union of both sexes in 2009, and made use to one Sheng and one Dan to play the one mutuality. The try to requested for the union of Sheng and Dan was unprecedented, and reach the related theatricality on stage by gender performativity. It will discuss in order: 1. Explain the history simply in Qian-Dan and Kun-Sheng of Beijing Opera, and study Hang-Dang's meaning in making the gender identity and performance. 2. Comment the theatricality by the performance being union of both sexes in Fox Tales and thinking the meaning about gender.