論明雜劇中的「扮裝」題材──以《女狀元》與《男王后》為比較劇本

Cross-dressing in the Variety Dramas of the Ming Dynasty: Comparing NüZhuangyuan and Nan Huanghou

「扮裝」（cross-dressing）在小說、戲曲中是極具戲劇張力的文學主題，尤其將男扮女裝、女扮男裝的異服行為置於「男女有別」、「男女授受不親」的中國性別文化脈絡中，更因其探觸文化禁忌，而進一步引發觀者的好奇與興趣。徐渭《女狀元》和王驥德《男王后》兩部明雜劇正好牽涉到男女扮裝的議題，前者是為了求取科考揚名而女扮男裝的黃崇嘏，後者是因耽戀自身美貌而男扮女裝的陳子高，兩人皆因社會性別的更易而竟使身分達至「狀元」、「王后」的崇高地位，此為這兩部雜劇最饒富興味的過程，其中兩位主角的心理狀態和劇作家創作的目的實可作為相互參照、探討的議題，故以此兩部劇作為例，希冀能在明雜劇扮裝題材的討論上提供比較性的觀看視角。

Cross-dressing is a literary theme that triggers dramatic tension within Chinese novels and operas. This theme explores male and female transvestism (a practice that runs counter to traditional Chinese gender culture, which emphasizes characteristic differences between men and women and strict segregation of the sexes), which often arouses readers' interest. NüZhuangyuan (Female Primus) by Xu Wei and Nan Huanghou (Male Queen) by Wang Ji-De are Zaju (variety dramas) from the Ming Dynasty that feature male and female transvestism, respectively. NüZhuangyuan has the female protagonist Huang Chonggu cross-dressing as a man to participate in the Chinese imperial examinations. In Nan Huanghou, the male protagonist Chen Zigao admires his appearance so much that he cross-dresses as a woman. By changing their gender roles, the characters earn the titles of Zhuangyuan and Queen, respectively. Their efforts to achieve high social status pique the audience’s interest. Moreover, the mentalities of both characters and the motivations of the authors can be compared and discussed. This study analyzed both dramas to shed a different light on the theme of cross-dressing in Zaju from the Ming Dynasty.