華人文化與扮裝融入教學設計

Abstract

華人文化透過文學、電影的呈現後，在古今中外各產生不同的詮釋，本研究以文學、電影中男扮女裝及女扮男裝的課題作為切入的主軸，將男扮女裝或女扮男裝視為一種鏡面的反映，反映出內心、行為、環境及某一類型的社會現況，尤其在多元文化的環境中，扮裝多半呈現了某種的性別形象與認同。 在我們的生活中，扮裝角色始終並非陌生的事情，可以看到過去或現在風靡於大街小巷的京劇、歌仔戲、黃梅調及野台戲，這些表演形式經常有男扮女、女扮男的情節或角色。因此，本研究選定《梁山伯與祝英台》、《行過洛津》、《霸王別姬》，分別比較文本中角色藉由男扮女裝、女扮男裝的過程，隨著劇情的推動所產生的性別展演與模仿行為。研究目的在於探討華人文學、電影中的文化內涵、敘事結構、角色塑造，再加以延伸思考角色扮裝所呈現的性別形象，經由分析角色形象後，設計並融入課程教學，以教學活動的形式討論華人文化與扮裝形象的意義。There are many interpretations of Chinese Culture in the past and at present, at home and abroad through presentations of literature and films. This research looks at the subject of men dressing as women and women dressing as men in literature and films and sees cross-dressing as a mirror that reflects minds, behaviors, environments, and a certain type of social status. This is especially true in an environment of diverse cultures where cross-dressing oftentimes reflects a certain type of gender image and identification. Cross-dressing characters are not something unfamiliar to our lives. There are often cross-dressing plots or characters in Peking Opera, Taiwanese Opera, Huangmei tone, and outdoor folk art performances. Therefore, this research selects three works, The Love Eterne, Walking Through Lo-chin, and Farewell My Concubine and compares the texts of these works on the process of characters dressing as the opposite sex and the gender performance and imitation behaviors manifested as plots move forwards. The purpose of this research is to explore the culture context, narrative structure, and the shaping of characters in Chinese literature and films. The research analyzes gender images presented by cross-dressing characters and further includes these images into course design to discuss Chinese Culture and the meaning of cross-dressing images in the form of teaching activities.