宝塚歌劇と越劇のジェンダー装置
―「男装の麗人」のあり方を視座に―

寶塚歌劇及越劇為日本及中國的純女性戲劇，兩者皆成立於20世紀初期。在日本，越劇時常被稱為「中國的寶塚」而引起學者們的討論與比較。其中，關於兩者男、「女役」定位的異同、有無以女性為主角的劇目等議論，筆者從新的視角出發探討。同為女性戲劇，兩者的「男裝麗人」，即「男役」（專門扮演男性角色的女演員），可視為一種性別轉換的裝置，亦為其最大魅力。又，兩者的代表性劇目中，皆存在著「女扮男裝」的女主角，如《凡爾賽玫瑰》的奧斯卡、《梁山伯與祝英台》的祝英台。不同之處在於，寶塚歌劇的奧斯卡由男役演出，而越劇則由女役演出。筆者認為，針對這兩位「男裝麗人」進行比較與分析，能夠申論出其間文化的異同內涵。因此，本論文以寶塚歌劇及越劇的「男裝麗人」為焦點，將之分為「男役」及「名劇目中女扮男裝的女主角」討論，目的在於探討這兩個女性戲劇中，作為性別轉換裝置的「男裝麗人」的定位、象徵與生存之道。第一章，針對兩者成立及發展的背景進行考察，藉此來看「男役」的誕生。第二章，在釐清兩者的沿革及歷史軌跡的同時，透過各自的代表劇目來分析「男役」的變化與定位。第三章則取各自代表作品中的「男裝麗人」，《凡爾賽玫瑰》奧斯卡及《梁山伯與祝英台》祝英台進行比較，以其「生存之道」為視角，解讀其「男裝」的象徵。

關鍵字

女扮男裝；寶塚歌劇；越劇；男役；女性戲劇

並列摘要

Takarazuka Revue and Yue opera are Japanese and Chinese women-performed opera, respectively, both established in the early 20th century. Yue opera is often called “Chinese Takarazuka” in Japan; this comparison is widely discussed among researchers. This dissertation tries to compare and analyze the “travesty” (the portrayal of a character by a performer of the opposite sex) in Takarazuka Revue and Yue opera from a new perspective. Travesty occurs in both representative dramas, such as Oscar in the “The Rose of Versailles” and Zhu Yingtai in “Butterfly Lovers”. The difference is that in the Oscar in Takarazuka is performed by a male actor, while the Zhu Yingtai in Yue opera is performed by a female actor. The author believes that comparing and analyzing cross-dressers in both plays is an interesting topic of research. There are two main aspects to this topic: male role performers and female cross-dresser in the programs of these two women-performed operas. Such organization allows us to investigate the role of female to male cross-dressing in both types of women performed opera. In Chapter 1 I examine the background of how these two women-performed operas were established and developed. It contains the founders’ idea, the reason why there are only female actors in these two operas. Chapter 2 elucidates the the position and process of change of male role performers in these two women-performed operas through their most famous programs. Chapter 3, the main purpose of this dissertation, is to analyze the symbol of cross-dressing and the figure of female cross-dresser, Oscar and Zhu Yingtai. The two women are both cross-dressing in the programs, but in Takarazuka, Oscar is played by the male role performers. This is an interesting issue of gender to investigate.