本研究起源女演員探討表演能力之多重面向,激發角色可能性,拉大角色與演員本體特徵之差異,討論其表演方法與內在詮釋。提出女性演員如何反串男性角色,克服男性與女性生理與心理上之差異,討論其表演與詮釋方法。 過程中定義反串一詞於社會風氣、藝術與人格中的價值與意義,藉以輔助並確立探討表演、詮釋反串的方向正確性。 於研究中首先提出東方傳統戲曲與西方當代音樂劇之異同,並類比其相似性,取傳統戲曲中與西方音樂劇特徵相似,並相扣此次探討反串主題的黃梅調劇《梁山伯與祝英台》。利用筆者具體實踐東方與西方表演藝術之經驗,將傳統戲曲中行當分類、表演程式之表演方法使用於反串的外在表演與詮釋方法,並融合西方表演方法史坦尼斯拉夫斯基表演體系中的方法表演,建立角色內在動機與外在衝突造成的角色內在轉折等。結合東方與西方,整合內在與外在,完整呈現角色反串過程與內在情感,歸結女性反串男性角色之詮釋與表演方法。
This study explores different possibilities for actress, making significant difference between characters and the actress herself. We discuss how actress can cross-dress into a male character, and how to overcome the physical and mental gap between female and male characters. We also discuss how social propensity and art affect the cross-dressed characters, and to determine the right way of cross-dressing. In this study, we first discuss the differences and similarities between Chinese traditional drama and western musicals. We picked a similar Chinese traditional drama category “Huang Mei”, and the story《Butterfly Lovers》in this study to continue our discussions. Based on the “classification of characters” and the “stylish performance method” in Chinese traditional drama, incorporate with Stanislavsky method, we build up the mental transitions of cross-dressed characters.