英文摘要
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Hong Xing-fu's "Drama Dissembled" and Chen Ruo-xi's "The Last Evening Show" are two classic works of fiction which represent the culture of Taiwanese opera and performers' lives in Taiwan. As time and social conditions change, performers in Taiwanese opera troupes have become the subaltern class in modern society, and are presented as "voiceless" or "aphasic" in the texts. However, social positions and situations of male and female members in Taiwanese opera troupes are not the same. This essay explores the different representations of male and female performers in "The Last Evening Show" and "Drama Dissembled", and discusses the formation of particular relationships between, on the one hand, gendered bodies, discourses, and narratives, and culture of Taiwanese opera, and the construction of native land/nation on the other. This essay aims to trace how these performers have been made voiceless, aphasic, and bodiless, in order to unpack the paradoxical intersections of Taiwan's native land/nation and gender/sexuality. These two texts both present a collective memory of "reminiscing about the glorious past". Nevertheless, the differences in genders and power relations influence how male and female performers remember the past, and how they are remembered by others. While male performers often indulge themselves in the glorious past, they are aphasic when facing current obstacles. On the other hand, female performers are put in the position of "voiceless" and "bodiless". They not only have to present unsuitable performances on stage, but also have to do part-time jobs to make a living. They even try hard to strike a balance between the role of an independent woman and that of a mother, resulting in contradictory relations between themselves and others. These two texts both focus on motherhood, but their different emphases seem to reveal how authors' gender identity affects female characters' view on motherhood and self-identity. This essay argues for a reconsideration of gender politics in "Drama Dissembled" and "The Last Evening Show", and attempts to clarify a variety of power relations. Gender factors in the two texts are explicitly identified to avoid messages being lost in umbrellas terms such as nativism and nationalism. It is hoped that by doing so, the voiceless subaltern class can be identified and a relational narrative of multi-faceted histories, gender politics, and aesthetics can be constructed.
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