崑劇乾旦曲友表演中的酷兒性：一個自我民族誌的觀點

本文探討崑劇乾旦曲友學戲表演中的酷兒性，以「自我民族誌」（autoethnography）為方法，以研究者──我為中心並輔以部分乾旦曲友的訪談，來發現其中的酷兒實踐。當前少數臺灣崑劇男性曲友選擇學習旦角，然而社會主流性別觀念仍以男女二元為刻板印象，由男性扮演旦角的「乾旦」依然選擇學習。乾旦曲友透過唱腔與身段程式將旦角表演技藝承攬上身，揣摩劇中人的情境；同時探索自身性別與腳／角色性別之間的關係。乾旦曲友扮演的劇中人皆為古代女子，因此必須游離現在的時間框架以表演劇中的情境，同時探索自我。我認為乾旦曲友在排練表演時僭越性別與時間框架，回溯古代情境以完成當下的表演，更具有探索自我的酷兒性（queerness）。國內學者張盈堃指出酷兒理論的核心價值在於僭越社會主流的規範與框架。Adams與Jones認為自我民族誌的研究架構突破質性研究的傳統，強調研究個體的流動性與主體性，並指出自我民族誌即酷兒。因此，我相信乾旦曲友的表演隱含酷兒性，並以自我民族誌為方法，從己身扮演崑劇旦角的經驗出發，同時旁徵部分乾旦曲友的案例來梳理表演經驗。我將乾旦曲友的表演歷程分成：選擇、學戲排練、表演、回到日常，從這四階段理解其表演中的酷兒性。

關鍵字

崑劇；乾旦；曲友；酷兒性；自我民族誌

並列摘要

This research paper investigated the queerness in the learning and performance of qiandan singers of Kun opera. Autoethnography and interview were employed to discuss the queer practice based on the interviews of other qiandan singers. Some male Kun opera singers in Taiwan are attracted by the appearance and the figure formula of danjiao (female character type) and choose to learn it. Nonetheless, those male danjiao singers, called "qiandan," do not follow the gender norm and still learn to act danjiao. When they rehearse, qiandan singers aquire the performance skills of danjiao through singing and figure formula and figure out the context of the female roles in dramas. On the other hand, they gradually explore the gender relationships between themselves and danjiao or the female roles they act. To perform the ancient female roles, qiandan singers have to leave the frame of the gender and time. Through this process qiandan singers explore themselves to practice queerness. Scholar Chang argued that queer theories state that the main value of queer is to leave the norm of society. Adams & Jones suggested that autoethnography is queer and focuses on the fluidity and subjectivity of the research objects. After this research, I divided qiandan singers' performance into four stages to figure out the queerness: decision, learning and rehearsal, performance, returning to daily life. I concluded that there is queerness in qiandan singers' performance.

並列關鍵字

Kun opera ； qiandan ； singer ； queerness ； autoethnography

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