「變」出臺灣味：在地風格皇后家族表演的考察

「變裝皇后」（Drag Queen）源自於歐美大城市的夜生活表演，男性表演者穿著極致浮誇、引人注目的服裝及妝髮，以帶有戲謔、幽默的方式諧仿女性的陰柔，體現「敢瀑」（Camp）的幽默與風采。變裝表演近幾年在臺灣蓬勃發展，愈來愈多的表演者投身其中，也逐漸組構「家族」，形塑個人表演特色之外的集體風格，也在表演及日常生活中相互支持陪伴、共享技藝與資源。本文透過訪談與多年的參與觀察，嘗試書寫關於冰家、辣氏家族，這兩個變裝皇后家族的田野民族誌，剖析源自於他們文化身份與生命經驗的的多樣表演元素，如何透過他們的意義賦予，形構出具有在地族群文化特色的變裝皇后表演，呈現出「文化認同」與「當代創新」之間的銜接，同時也促使酷兒觀眾感到親切、熟悉，使得以族群文化為主題的展演實作，能夠深刻地與酷兒群體發生相互作用，表現「族群文化–酷兒文化」的兼具融合。冰家家族的「原住民皇后」表演採用「耳熟能詳」的流行歌曲，既體現自身的原住民酷兒身份，也讓觀眾在氛圍中親近、共鳴當代的原住民創作，從而學著理解、尊重他們「真實」的當代文化身份及生命經驗；辣氏家族致力於在變裝表演中推廣漢人民俗表演，適時融入當代流行文化元素及酷兒脈絡，展現民俗文化的創新可能，甚至營造民間信仰的「酷兒親密感」。「族群文化」經常強調「差異」，但這兩個家族的皇后表演反而強調「共性」，意即經由組構著商業化、主流的符號元素，試著召喚台上台下、不同人群間的共有集體經驗，超越固著的文化身份範疇，經由他們族群與酷兒交互作用下的表演構思，在歡笑喧鬧中帶出新的文化生產與凝聚連結，展現富有混雜意味的在地主體性。

關鍵字

變裝皇后；文化認同；原住民；漢人民俗文化；酷兒研究；交織性

並列摘要

Drag Queen performers wear exaggerated costumes and makeup, and parody women's femininity in a playful and humorous way, embodying The humor and style of "Camp". Drag performances have been booming in Taiwan in recent years, and many performers are gradually forming their “House", shaping a collective style beyond individual performance characteristics, and supporting each other in performances and daily life. Through interviews and years of participant observation, this article attempts to write the ethnography of two drag queen Houses, the House of Ice and the House of La(Pungent), and analyzes various elements derived from their cultural identities and life experiences. Through their meaning endowment, a drag queen performance with the cultural characteristics of the local ethnic group is formed, showing the connection between "cultural identity" and "contemporary innovation", and at the same time making queer audiences feel familiar. Therefore, their drag performances with the theme of ethnic culture can deeply interact with the queer community, showing the integration between "ethnic culture" and "queer culture". The "Aboriginal Drag Queen" performance of the House of Ice uses Taiwnese pop songs, which not only reflect their own aboriginal queer identity, but also allow the audience to get close to and resonate with contemporary aboriginal creations in an atmosphere, so as to learn to understand and respect their "authentic" contemporary cultural identity and life experience; the House of La(Pungent) is committed to promoting Han folk culture performances in drag performances, timely integrating elements of contemporary pop culture and queer context, showing the innovative possibilities of folk culture, and even creating the " Queer intimacy". "Ethnic culture" often emphasizes "difference", but the performances of these two houses instead emphasize "commonality", which means that by making assemblages of commercialized and mainstream symbolic elements, they try to summon the shared collective experience in crowds, and embody intersectionality between their ethnic identities and queer identities. So, these drag performance themes bring out new cultural production and cohesive connection in the laughter and noise, showing a kind of local subjectivity full of hybridity.