文本与舞台:明清易性乔装剧的性别书写  

Text and Stage:the Writing of Gender Disguise Opera in Ming and Qing Dynasty

作　　者：徐蔚[1] 

机构地区：[1]莆田学院文化与传播学院,福建莆田351100

出　　处：《北京工业大学学报（社会科学版）》2016年第6期64-69,共6页Journal of Beijing University of Technology (Social Sciences Edition)

基　　金：国家社会科学基金艺术学青年项目资助(08CB60);福建省高等学校新世纪优秀人才计划项目资助(JA1023IS)

摘　　要：易性乔装是明清戏曲、小说常用的一种叙事方式,其与西方传统性学常将易性装扮视为性心理异常不同,明清易性乔装剧中的性别换装是独立自主的身份实践,映现传统社会根深蒂固的文化观念与性别规训,既是现实性别角色规范的复现,也是对固置的性别论述的调整与僭越。性别换装表演有力推进了戏剧性情境的建构,并孕育双性同体的艺术形象,凸显了性别扮演的深刻变迁,深深烙刻着民族特定历史时期的文化印痕。Gender disguise is a common narrative form of opera and novel in Ming and Qing Dynasty. It is different from Western traditional sexology which refer gender disguise as psychosexual abnormal, the change of gender in gender disguise opera in Ming and Qing Dynasty is an independent identity practice, aims at reflecting the traditional deep-rooted cultural values and gender discipline. It is not only a reproduction of realistic gender character norms but also an arrogation and adjustment of stable gender narration. Gender disguise opera effectively promote the construction of dramatic environment, and gave birth to the artistic image with androgyny, which highlight the profound changes of the gender plays, deeply graved with cultural trace of specific historical period.

关 键 词：易性乔装剧 性别规训 双性同体 

分 类 号：I237.2[文学—中国文学]