重思女性同性親密性：台灣歌仔戲和韓國女性國劇文化再現中的性身分政治與情感聯盟

Rethinking Female Same-Sex Intimacy: Sexual Identity Politics and Affective Alliance in the Cultural Representation of Taiwan Kua-á-hìand Korean Yeosung Gukgeuk

本文探討戰後韓國女性國劇和台灣歌仔戲相關文化再現中的「性身分政治」與「情感聯盟」，並以此重新思考女性同性親密關係。女性國劇與歌仔戲具有相似的現代／傳統混合風格、由女性扮演男性角色、流行於兩地政治經濟文化發展的過渡時期。然而正因為這幾組交織的「過渡性」，使這兩種表演文化在特定時期從主流現代化歷史中被抹去。這段歷史的重訪，一直要到1990年代以後，才陸續在台灣、韓國的文學、紀錄片、藝術領域出現，並且在當代被重新寫入LGBTQ歷史中。但我認為這樣的史觀不僅限縮其同性親密性的特定歷史，西方認識論下的跨性別主體更壟斷了其複雜的身體性。我將以「非認同化」的情感主體，以及歌仔戲和女性國劇社群的情感聯盟，重思既有的酷兒親密性想像，以此回應當代台韓社會對於女性同性親密的「強迫女同性戀」傾向。為此，我提出以情感史觀重新理解這段同性親密歷史，以強調現有的國族、LGBTQ歷史敘事的不足，及其多重認識論的問題。

Focusing on the“sexual identity politics”and“affective alliance”of the traditional theater of yeosung gukgeuk and kua-á-hì, this paper speaks to recent work in queer theory and historiography on the potential for rethinking female same-sex intimacy. Though emerged and declined in different ways and times, yeosung gukgeuk and kua-á-hìare both mixtures of western/traditional genres with cross dressing roles that became popular in the transitional periods of political, economic, and cultural developments. These interwoven senses of“transitional nature”render them vulnerable from erasure in 1960-1990s mainstream history. Against this backdrop, this paper revisits their historical archives and ephemera of the cultural phenomenon to understand the issues of sexuality and affect in their respective forms of performance and historical periods. Through revisiting/retrieving the affective subjects and alliances, I propose an affective turn for rethinking queer intimacy against the hegemony of“compulsory lesbianism,”highlighting the insufficiency of existing national and LGBTQ narratives, and elucidating the problem of their multiple epistemologies.