社会出走与性别越界:明清易性乔装剧研究  

Social Exodus and Gender Transgression:A Study of the Ming and Qing Transsexual Masquerade Theatre

作　　者：王竣 司岳洋 Wang Jun;SI Yue-yang(China West Normal University,Nanchong Sichuan 637009)

机构地区：[1]西华师范大学,四川南充637009

出　　处：《吉林艺术学院学报》2024年第3期23-29,共7页Journal of Jilin University of Arts

摘　　要：学界对明清扮装剧的研究,多着眼于女扮男装及扮装动机,容易将扮装情节与含意单一化。以为扮装之外因——情境,亦起着不可忽视的作用。文章以明清扮装剧为研究对象,借狄德罗“情境说”强调“情境”对于“扮装”这一行为的重要性及其影响。就男扮女装而言,产生于特定情境下的扮装,既强化又颠覆了“男尊女卑”的二元体系;就女扮男装而言,学界往往会夸大性别控诉。男性剧作家笔下扮装才女并非否定女性角色;女性剧作家则从“人”的角度出发,探讨现实中男女两性人生出路的问题。Studies of Ming and Qing Dynasty costume dramas have mostly focused on female impersonators and their motives,which tends to homogenise the plot and meaning of disguise.It is easy to homogenise the plot and meaning of the costume.It is thought that the situation,which is not the cause of the costume,also plays an important role.Taking the Ming and Qing dynasty costume dramas as the research object,the article borrows Diderot's"contextual theory"to stress the importance and influence of"context"on the behaviour of"costume".In the case of male cross-dressing,cross-dressing in a particular context both reinforces and subverts the binary system of"male superiority and female inferiority";in the case of female cross-dressing,the academic community tends to exaggerate the gender accusation,Male playwrights do not negate the role of women by dressing up as talented women;female playwrights,on the other hand,start from the perspective of"human beings"and explore the issue of the way out of life for both men and women in reality.

关 键 词：性别扮装 性别越界 情境 明清戏剧 易性乔装戏剧 

分 类 号：J802[艺术—戏剧戏曲]