| Summary: | 碩士 === 國立臺灣師範大學 === 體育研究所 === 85 ===
The body endured some depressions under the shadow of binary opposition. Irigaray used the "black cave" to point out the pride of reason. Bakhtin used the "grotesque body" to unveil the prejudice of civilization.
Thus, I searched for a stage including character/thinking, voice/language, body/action to ascertain the fact of body's distress.
The Chinese opera theater became my selected object. In this stage the term of body action was "Ke Jieh".
The different roles of Ke Jieh in different theaters reflected the body suffering situations. There were three theaters as following:
1.Ke Jieh used the colonial mimicry of onnagata Ke Jieh to perform "the rebellion theater". In the facet of expressing sovereignty Ke Jieh played the supernumerary by means of the status of female.
2.Ke Jieh performed "the puppet theater" with the status of clown. The foregrounding position of Ke Jieh was under the control of commercial, political, culture, aesthetic theory.
3.Ke Jieh used the subject-creation of body to fight the material civilization; therefore, Ke Jieh performed "the essence theater" with the status of main actor. Ke Jieh returned to the original identity and got rid of the control of "God's will" in order' to look for the real presentation.
In conclusion, the performance of Ke Jieh in the Chinese opera theater became the potential text of body culture activities. "The rebllion theater" protested the degraded situation of body. "The puppet theater" was the reflection of body under control. "The essence theater " provided some directions to the development of body education.
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