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Please use this identifier to cite or link to this item: http://ir.ncue.edu.tw/ir/handle/987654321/9809

Title: 性別、愛情與戲劇:莎士比亞浪漫喜劇後設傾向研究
Gender, Love and Drama: A Metadramatic Study of Shakespearean Romantic Comedies
Authors: 儲湘君
Contributors: 英語學系
Keywords: 後設劇場;性別;愛情;性別政治;表演
Metadrama;Gender;Love;Sexual politics;Performance
Date: 2000
Issue Date: 2012-04-27T02:01:17Z
Publisher: 行政院國家科學委員會
Abstract: 莎士比亞劇作的後設傾向向來是學者
批評的焦點,《皆大歡喜》中傑克將人生
比喻為舞臺、男男女女便是台上的演員,
印證所謂的「人生如戲,戲如人生」。莎
翁常有意無意的將他對戲劇及劇本創作本
身的關注融入劇本寫作當中,創造出似真
似假、亦真亦假的舞臺世界。本計畫擬從
後設劇場的觀點探討莎翁浪漫喜劇中的兩
性關係之戲劇面向,包括戲劇作品中戲劇
與人生、虛構與真實的辯證關係、同性情
誼、同性欲望、性別化主體、性別與情慾
之表演等。到底後設劇場能為莎翁喜劇中
的性別政治提供什麼新的視野呢?或許答
案在於戲劇本身所特有的曖昧性,真實與
虛幻交織的舞臺世界使劇作家遊移於現實
世界與戲劇世界,並將性別政治融入戲劇
的表演。
透過性別關係的戲劇面向,本計畫希
望能夠進一步檢視性別的形成與表演的關
連。例如,《威尼斯商人》的女主角波西
雅(Portia)在法庭這場戲中假扮成巴薩哲
(Balthazar)法官,藉由易裝穿上男裝、
並表演出一個男性主體的樣子。暫且不考
慮男童扮演女角的戲劇演出傳統所可能涉
及的性別爭議,從波西雅易裝的例子,我
們可以發現「服裝符號學」(the semiotics
of clothing)或戲劇演出的戲裝一方面界定
了人的性別與社會地位,一方面也成為顛
覆社會階級制度中僵化的性別、地位區分
的可能手段。
此計畫擬以莎翁浪漫喜劇為研究對
象,包括《皆大歡喜》、《仲夏夜之夢》、
《威尼斯商人》、《無事自擾》、《第十
二夜》等共五齣戲。為什麼要研究浪漫喜
劇呢?主要的原因是莎翁在這些喜劇中處
理男女愛情所涉及的兩性權力掙扎,大部
份的學者企圖從社會批評的角度出發,勾
勒出當時社會的性別政治,而較少從後設
戲劇的角度檢視性別關係中戲劇表演的層
次。本研究打算從後設劇場的角度、旁及
心理分析與性別理論,探討劇中的性別政
治與戲劇演出的關係,包括角色扮演、易
裝(男扮女裝、女扮男裝)、戲劇搬演、
戲中戲、演戲與觀眾反應。希望這項研究
藉由對莎翁編劇手法的關注,使劇中複雜
多樣的性別政治與兩性關係得以展現。
本計畫只是一個開始,筆者未來打算
進一步擴及其他莎劇中相關性別議題的探
討,對莎劇中的性別與戲劇議題作完整、
全面的研究。
The metadramatic tendency in
2
Shakespeare’s plays is a very important
aspect, and has often been discussed. Jaques,
in As You Like It, begins a famous speech as
follows: “All the world’s a stage,/ And all the
men and women merely players”
(2.7.139-40). This speech draws out the
interconnection of life and drama. The
present project intends to explore the
thematic concerns of love and marriage,
sexuality and gender in such a metatheatrical
perspective, focusing on the dramatic and
performative nature in gender relation in
much detail. For example, the plays introduce
a complex dialectical relation between life
and drama, illusion and reality. Many
interesting gender-related topics can also be
found in Shakespearean comedies, such as
same-sex love, homoerotic desire, female
sexuality, gendered identity, performance of
gender and sexuality; these topics are quite
relevant to today’s gender issues. What can a
metadramatic perspective provide for the
understanding of sexual politics in the
comedies? The quintessence of theater
bordering between reality and illusion
becomes a niche for the playwright to explore
the dynamics of the world onstage and that
offstage, and thus, brings out the
performative and theatrical dimensions of
sexual politics.
In highlighting the performative aspect
in gender relation, this study, thus, can
examine the nature of gender formation in
relation with performance. For example, in
The Merchant of Venice, Portia crossdresses
as Balthazar in the courtroom scene, adopting
the male dress as well as masculine
subjectivity. Suspending the theatrical
practice of boy actor playing the female part
for a moment, we can see that semiotics of
costume, a dramatic device, indicates a
person’s gender and social rank. It can also
be adopted as a disruption to challenge the
social codes of clothing governing one’s
social position fixed in a social hierarchy.
This research covers only the romantic
comedies, namely As You Like It, A
Midsummer Night’s Dream, The Merchant of
Venice, Much Ado about Nothing, and
Twelfth Night. Why romantic comedies in
particular? It is partly because that these
comedies dramatize the gender struggle in
love, a relation involved power struggle and
dynamics. Critics usually try to contextualize
the sexual politics found in these comedies.
But few try to explore the theatrical
implications of sexual politics in these plays.
My project proposes to study the gender
issues in the light of metadramatic
perspective with the considerations provided
by psychoanalysis and gender theory, thus
highlighting the interconnection of sexual
politics with the various dramatic devices,
such as role-playing, cross-dressing,
mise-en-scéne, play-within-the-play,
playacting, and audience reception. It is
hoped that the findings of this study can shed
new light on the implications of sexual
politics presented in these comedies with a
constant attention to the Bard’s dramaturgy.
This project is only a beginning of an
attempt to explore the metadramatic elements
in Shakespeare’s plays in relation with the
plays’ thematic concerns of sexual politics. If
possible, I would like to include the Bard’s
tragedies, history plays and romances in the
future.
Relation: 國科會計畫, 計畫編號: NSC89-2411-H040-002; 研究期間: 8908- 9007
Appears in Collections:[英語學系] 國科會計畫

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