酷兒感官書寫：徐堰鈴《踏青去》（2015）的戲劇策略

Towards A Queer Sensory Writing: The Theatrical Tactics of Skin Touching (2015)

《踏青去》歷經十年，於2015年復刻搬演，無論在戲劇文本、藝術美學、行銷策略及社會批判上，皆銘刻台灣性別議題的繁複推演過程。本文結合現象學、心理學、當代酷兒理論及在地性別議題，聚焦於本劇發展脈絡、敘事結構與劇場手法三種面向，並提出「酷兒感官書寫」的概念。酷兒主體得以藉由拼貼的諧擬、多層次的挪用、高張的視聽感官與流動的慾望投射，擾亂父權異性戀、理體中心主義式的語義邏輯與正典詮釋。本文首先自歷史脈絡扼要耙梳台灣當代酷兒劇場，從中分析《踏青去》自2004年以來之發展脈絡，為之定位；其次詳析本劇編劇策略上的三層性別運作，並援引Slavoj Zizek 之驅力心理學，以聚焦其梁祝挪用中的酷兒歸返；再則拓展Sara Ahmed 之酷兒現象學概念，探究本劇實際演出所形構之感官書寫美學；結論縱觀本劇所指涉之當代性別策略意義，並提示未來可能之探問方向。

A decade after its premiere, Skin Touching, a Taiwanese lesbian play, was revived for the stage in 2015. This production, through its dramatic text, theatrical aesthetics, marketing strategies, and social critique teased out the complex evolution of local gender issues. Working at the intersection of phenomenology, psychology, queer theory, and domestic gender analysis, this paper examines the narration and the staging of Skin Touching, which mobilizes the critical framework of queer sensory writing The first section articulates the historical context of contemporary queer theater in Taiwan with a special focus on the original development of Skin Touching in 2004; the second section employs Zizek's psychoanalytic model to investigate the layered drag operations designed into the theatrical strategy of the script: the third section extends Ahmed's queer phenomenology to underscore the hyper-sensuality of stage presentation.