Stage Performers and Female Subjectivity－A Study on Hakka Women in Taoyuan, Hsinchu and Miaoli

• Main Authors: Peng,Shi-Yun, 彭琋筠
• Other Authors: Lu,Lan-Lan
• Format: Others
• Language: zh-TW
• Published: 2011
• Online Access: http://ndltd.ncl.edu.tw/handle/48389948887697293753

碩士 === 國立聯合大學 === 客家語言與傳播研究所 === 99 === This study investigates Hakka women’s changes of subjectivity in stage performances. It illustrates Hakka women’s gender consciousness and subjectivity in reference to Goffman’s dramaturgy and poststructuralist feminism, along with Foucault’s theories of surveillance and discipline. The research method employs in-depth interview and participant observation. The interviewees of this study include 21 Hakka females (aged over 40) that participate in Hakka singing contests in Taoyuan, Hsinchu and Miaoli. Participant observation was conducted in the studio of Taiwan Public Television and the interviewees’ residences. The findings show that the processes of fighting for supremacy have become valuable experiences for these Hakka participants, including preparation for singing, performances on stage, and mental responses to contest outcomes. Through a series of competitions, Hakka women thereby construct a new subject of self. In daily life, Hakka women play different roles to meet the needs of multi-dimensional tasks. Upon building a bond with performances, Hakka women strive for a balanced point at which they get along with both tradition and modernity in harmony. Between change and constancy, Hakka women exhibit abundant mobility and thus establish a new inclusive subject.