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| Title: | 離變的間諜/蝶: 宋麗玲在《蝴蝶君》中的展演主體性
Unsettling Spy/Butterfly: Song Liling’s Performative Subjectivity in M. Butterfly |
| Authors: | 陳依婷
Chen, Yi-Ting |
| Contributors: | 姜翠芬
Jiang, Tsui-Fe
陳依婷
Chen, Yi-Ting |
| Keywords: | 《蝴蝶君》
宋麗玲
主體性
性別展演
M. Butterfly
Song Liling
Subjectivity
Gender performance |
| Date: | 2023 |
| Issue Date: | 2023-08-02 14:01:13 (UTC+8) |
| Abstract: | 華裔劇作家黃哲倫的代表作《蝴蝶君》(1988)一直是東方主義、後殖民主義 研究的經典劇作。在諸多研究中，男主角法國外交官加利瑪多處於討論的中心，而反 觀另一位主角宋麗玲卻在眾多評論中被邊緣化或是少有提及。本篇論文旨在研究劇中 宋麗玲的人物塑造並且探究其流動的展演主體性。宋在台上是技藝精湛的京劇乾旦， 在台下則是風情萬種、順從柔弱的中國「蝴蝶」。為了執行間諜任務而表演出的女性 身份，和自我真實的情感和性別傾向，兩者矛盾地存在於宋的主體意識中，構成了一 個複雜多層次的中國間諜/蝶形象。
本論文建構了宋麗玲在劇中三個階段的主體性變化。受制於民族家國主義薰陶 的京劇培養背景，宋在游刃有餘的性別表演中逐漸迷失並動搖了原本間諜應有的政治 和情感立場。在脫離當時中國的文化大革命大環境之後，宋藉由完全褪去偽裝表露真 實自我，獲得了在愛與自我中的自治和自洽。而原本因表演「蝴蝶」而受到的壓制和 隱忍也在劇末得到了釋放和蛻變。可以說，宋麗玲在男女氣質之間的自如切換完美地 詮釋了朱迪斯×巴特勒的性別展演理論。由此，劇作家不僅在矛盾中賦予了該角色在劇 中的多重解讀性，也借由此人物塑造呼籲觀讀者在研究東西方文化碰撞及權利關係時 要更深層地反省和思考。
M. Butterfly (1988), written by Chinese American playwright David Henry Hwang, is considered an outstanding work in postcolonial studies. In many of the studies, the male protagonist, the French diplomat René Gallimard, has been at the center of the discussion, while the other Chinese protagonist, Song Liling, has been marginalized or rarely touched upon in many criticisms. The purpose of this thesis is to examine the characterization of Song Liling and to explore his fluid performative subjectivity. Song performs as a skilled male-dan onstage while acting as a submissive Chinese “Butterfly” offstage. A complex and multi- layered image of the Chinese spy/butterfly is constituted by the conflicting existence of Song’s acted female persona for the purpose of carrying out his espionage mission and his genuine feelings and gender inclination, both of which are present in his changing subjective consciousness.
This thesis constructs the three stages of Song Liling’s subjective transformation in the play. Song progressively gets lost and destabilizes his initial political and emotional attitude as a Chinese spy within the context of his training in traditional Chinese theater, which was fostered by ethnic nationalism. Song regains agency and autonomy in love and selfhood by expressing his genuine affection after distancing himself from the atmosphere of China’s Cultural Revolution. The past suppression and concealment due to his performance of a subjugated “Butterfly” are also liberated and metamorphosed at the end of the play. It can be said that Song Liling excellently exemplifies Judith Butler’s idea of gender performativity with his fluid switching between femininity and masculinity. Through the ambivalent characterization of Song Liling, Hwang not only endows the possibility for re- reading and re-working the play but also makes a case for deeper contemplation on the power relations and cultural confrontation between East and West. |
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| Description: | 碩士
國立政治大學
英國語文學系
109551024 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0109551024 |
| Data Type: | thesis |
| Appears in Collections: | [英國語文學系] 學位論文
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