寶塚歌劇團的娘役表演美學初探

發展超過百年的日本寶塚歌劇團清一色由女性組成，現今不論是學界端或是大眾觀眾端都把注目焦點放在「男役」身上，但眾多的文獻則指出寶塚歌劇團發展初期的「當家明星」，事實上指的是娘役。在這漫長的表演型塑歷程中，如今清楚將演員劃分成「男役」以及「娘役」兩個行當，寶塚演員高度明星化的制度讓她們將舞台上的形象延伸至舞台下的生活風格以及形態，包括便服裝束、站姿坐姿等等，無不強化其「理想男性」與「理想女性」的舞台形象，寶塚歌劇團的男役演繹出的「理想男性」指的是觀眾心目中，特別是女性觀眾心中的理想伴侶對象：帥氣、憂鬱、多情、浪漫，娘役則是溫婉嫻熟、纖弱、小家碧玉或是大家閨秀，符合父權文化下對於女性的期待：「賢妻良母」，自1970年後，《凡爾賽玫瑰》熱潮，宣告「明星制的寶塚」「寶塚明星搭檔」誕生，注目的對象指的是舞台上的男裝麗人與其搭配的主演娘役。面對多元的時代，搭檔形式的約定俗成也在悄悄變異著，隨著女性編導加入，寶塚歌劇團的「娘役」也開始有了走出閣樓、不再靜默的可能，本文試圖從寶塚多位「非典型」賢妻良母的角色，探究在性別符號二元的寶塚表演裡，娘役的表演具有什麼樣的美學以及社會意涵。性別刻板意味濃厚的寶塚歌劇團如何嘗試自身的可能。

關鍵字

寶塚歌劇團；娘役；音樂劇改編；表演分析

並列摘要

Takarazuka Revue is the world portrayed by its all-female casts. It is easier for the audience and the scholars to pay attention to the otoko yaku. The otoko yaku, with a presence that makes them seem "cooler" than real men, is unique to the Takarazuka Revue. But when we searched the documents, it showed that the musume yaku was the much more brilliant than otoku yaku when the company ran the show business at the beginning in 1920's. Note the subtle details in otoko yaku and mesume yaku expressions, gestures and costumes, we will recognize the different types for the gender-playing. Since the show Rose of the Versailles hit Takarazuka , the company has made its formation for the performance which all the shows must be producted for the leading role-the top star, especially the otoku yaku top. From the debut performance in 1914 until today, many people have contributed to writing the history of the Takarazuka Revue, including the performers, the fans and the crews.This study tried to recognize the aesthetics of the musume yaku. Since the gender stereotypes have changed slightly through history, this study tried to discuss if Takarazuka could break the gender stereotypes and give much more possibilities for the musume yaku who were regarded as the supporting roles.

並列關鍵字

Takarazuka Revue ； musume yaku ； musical adaption ； analysis of performance

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