音樂劇《吻我吧！娜娜》導演創作研究及角色與性別刻畫

Abstract

本篇研究報告以果陀劇場音樂劇《吻我吧！娜娜》劇中角色出發，延伸性別議題之導演創作研究，研究生整理劇本資料後，提出十個與劇情相關的性別議題，反映現代社會，研究生對於性別議題之探究：一、女性角色之期待，二、家庭的附屬品，三、符合性別期待的盲從心理，四、父權制度下對男性的影響，五、不同的性別，同樣的詞彙，六、女性的自我覺察，七、女性在成就上的社會期待，八、詞彙意思隱喻的性別標籤，九、婚姻刻板印象與形容男女性之語彙差異，十、比起男性，女性的工作往往較多。「你依然可以是你，我依然可以是我。」此文句一語道破研究生想詮釋的全劇主旨，每個人都是獨特且應受到尊重的個體，無分性別、社會地位，希望能夠落實性別平等，並從正視性別歧視與消除僵化刻板印象做起。

This research report starts with the characters from the Godot Theatre Company musical, “Kiss Me, Nana” and expands the discussion to the author’s directing concept on the basis of gender issues. The author sorted through the script and listed 10 plot-related gender issues reflecting gender situations in the modern day, which are as followed: (1) expectations on females’ gender role, (2) female as an auxiliary object of the family, (3) the conforming mentality to meet gender expectations, (4) patriarchy’s effect on males, (5) different genders, same vocabularies, (6) females’ self-awareness, (7) social expectation on females’ personal achievements, (8) metaphoric gender labels in vocabularies, (9) stereotypes on marriage and differences in vocabularies for depicting male and female, (10) females obligated to “do more” as compared to males in the same environment.“You can still be yourself and I can still be me”, is a line that fairly presents the main theme in the author’s interpretation. Every person is a unique individual that deserves to be respected, whatever one’s gender or social status is. By facing up to the problem of gender discrimination and diminishing rigid stereotypes, the author wishes that gender equality could be fully implemented.