引申/隱身：台灣當代女同志劇場的情慾想像（2004-2017）

2017年同志大遊行達到12.3萬破紀錄的人數、大法官釋憲保障同志婚姻，社會環境對同志議題漸漸友善開放。台灣劇場探討同志議題也從90年代的人人自危，轉而到現今與主流大眾劇場結合，不少作品達到票房與話題性皆大歡喜的結果。過去不少研究者為已羽翼漸豐的同志劇場爬梳相對明確的道路。本論文自對台灣同志文學史的重思出發，再探台灣當代女同志劇場的傳統定義與未來發展，並提問女同志劇場文本究竟應如何定義（或無法定義）。本論文包含七個章節，自80年代女同志劇場的爬梳啟程，聚焦在莎妹劇團《踏青去》、創作社《少年金釵男孟母》、《孽子》、耳東劇團《服妖之鑑》四部作品，討論在編劇並未以女同志情慾作為創作主旨的情況下，如何意外及意料地生產出女同志想像，並擴大台灣當代女同志劇場的陣容，展現其多點發展且多元繁雜的景觀。藉由對四部作品的分析，本論文指出，「情慾」可以作為主題直接被呈現、亦可流動在角色與角色間，或是演員與觀眾間。「情慾」作為女同志劇場的指涉，揭示了既有女同志劇場類型以外他者的存在可能性。本論文在重新討論過去的女同志劇場作品時，同時將目光放向未來，希冀能在為數眾多的的劇場作品持續挖掘引申/隱身的女同志劇場作品。

關鍵字

當代劇場；酷兒；扮裝；女同志情慾； T婆展演

並列摘要

Pride Parade in 2017 attracted more than 123,000 participants and drew a new record in the history of Pride Parade in Taiwan. On 24th May, Taiwan's Constitutional Court ruled that laws banning same-sex marriage are unconstitutional. As the local environment has been more and more friendly to LGBTQ issues, many works succeeded in box office and raising discussions. Against this background, this project aims to rethink the definition and the structure of contemporary Taiwan lesbian theater, as well as to bring up a question: how to define (or resist to define) the texts of lesbian theater? This project contains seven chapters, beginning with the history of lesbian theatre in the 80S. Focusing on the selected four plays, ”Skin Touching,” “He is my Wife, He is my Mother,” “Crystal Boys,” and ” Dress in Code,” this project teases out the lesbian sexual imagination extended by and/or hidden behind the gender apparatus. “Sexual lust” ,as a common motif for the Lesbian theatre genre, can be used as a standard criterion to classify dramas into the Lesbian genre. It provides a method to unveil potential Lesbian theatre that are often overlooked in the past. Whilst this essay rediscusses the past lesbian dramas, it also projects to the future. With the vast diversity of drama genres, it hopes to delve further into the hidden/extended lesbian theatre work. “Sexual lust” ,as a common motif for the Lesbian theatre genre, can be used as a standard criterion to classify dramas into the Lesbian genre. It provides a method to unveil potential Lesbian theatre that are often overlooked in the past. Whilst this essay rediscusses the past lesbian dramas, it also projects to the future. With the vast diversity of drama genres, it hopes to delve further into the hidden/extended lesbian theatre work.