目錄／
封面／Book cover 目錄／Content 總編輯的話／From the Editor in Chief 導言／Introduction 《少年金釵男孟母》創作者自序 《少年金釵男孟母》劇本 He Is My Wife, He Is My Mother Script 附錄1 影音精選／Video Clips 附錄2 劇作家周慧玲簡介／Playwright 附錄3 創作社劇團簡介／Creative Society 附錄4 首演資 ／Premiere Info 附錄5 幕後製作相關 附錄6 延伸閱讀 台灣現代戲劇 表演影音資料庫簡介／An Introduction to Electronic Theater Intermix in Taiwan 15. 版權／Copyright 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.
少年金釵男孟母
潑墨書房
總編輯的話
《表演臺灣彙編：劇本，設計，技術，1943~》Performing
Taiwan:
Script, Design, Stagecraft, 1943– 是一套以「台灣現代戲劇曁表演影音資 料庫」（eti-tw.com）典藏爲基礎的電子叢書，由中央大學黑盒子表演 藝術中心和戲劇曁表演研究室協力完成，文化部補助出版。為了在電 子閱讀的新時代，更全面地捕捉劇場
個古老表演媒介的立體風姿，
套叢書透過新的編輯概念與發行平台，不 調影音資
收納了文字書寫，更強
的同步閱讀，在每本電子書裡都收入一定比例的影音片段
或圖像劇照。 2010年，我國的《文化創意產業發展法》在「刪減藝術補助」與「創 意產業升級」和「經濟加
」的經濟語境中登臺亮相。臺灣的表演藝
術從業者熱情無限，看似活力迸發的文化一隅，但專業化尚未完成， 距離產業化仍待努力。可是在文創的全球語境中，我們又似乎很難置 身其外。
部叢書的出版，無非是希望在探索臺灣表演藝術邁向專業
化甚至產業化的過程中，累積一些發展的資產，嘗試開發劇場以外的 智慧財產創意再生產。
跨界創意下的分館別類 《表演臺灣彙編》包含「戲劇劇本館」、「戲曲劇本館」、「表演書 少年金釵男孟母
潑墨書房
寫館」、「設計館」與「技術館」五個主題，分別從表演文本、設 計、技術三個面向，展現表演藝術在臺灣七十餘年的創作軌跡，彌補 過去乏於書寫紀錄與發行不足的遺憾。不論是戲劇、戲曲、偶戲、音 樂劇、肢體劇場或舞蹈等各類表演藝術作品，都可藉由
一叢書的出
版而打開一扇閱讀、賞析的窗口。 「戲劇劇本館」、「戲曲劇本館」和「表演書寫館」歸屬於表演文本 面向，
三個館別用以架構臺灣近七十年的表演文本內容。臺灣的創
作者們以勇於突破既有框架見長，經常融合多種不同表現元素來創造 獨特的作品，
樣的分類方式其實難以收納臺灣表演藝術創作者自由
多元又紛異的創作形式。為了展現
個特色，我們遂決意放棄傳統的
編輯概念，不由編輯臺對作品逕行分類，而是讓創作者依據其作品的 原始發想，自行決定作品歸屬的館別。如此，讀者可能會在「戲曲劇 本館」裡，讀到採用戲曲元素卻又更像現代戲劇的作品，或是在「戲 劇劇本館」裡發現反其道而行的其他跨界創作。又因為戲劇或戲曲也 還不足以歸納其他既不採取文本書寫、甚至沒有任何對白的表演文 本，我們便又規劃了「表演書寫館」，邀請創作者（如導演或編舞） 根據已經完成的舞臺實踐，進行專題書寫以典藏過去難以被流傳的精 彩表演。 除了表演文本的書寫之外，我們另外規劃了「設計館」與「技術 館」。臺灣表演藝術近三十年累積了一批專業的設計者與劇場技術工
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作者，他們的創意，同樣是形構臺灣劇場生命力的要素。然而，他們 也是觀
最不熟悉的一群劇場工作者。為了提升
兩個部門工作者的
創意智慧再運用，也為了加強表演藝術專業知識的流通，「設計館」 與「技術館」邀請國內資深或具有獨特技術的設計者與技術工作者， 根據其長期的專業經驗，
述深入淺出的專題電子書，爲臺灣表演藝
術的發展足跡留下完整的紀錄。
公開展演與影音紀錄之選錄雙軌 《表演臺灣彙編：劇本，設計，技術，1943~ 》最重要的選錄標準是： 被選錄者必須是已經公開演出過的作品。以臺灣的表演藝術生態而 言，一個作品能
搬上舞臺，必然已經取得一定的社會資源，
些資
源的取得，可以視為是對該作品與其創作者和製作團隊的肯定與選 擇。 除了少數幾部無法取得任何演出影音紀錄的早期經典之作，我們另以 是否能取得作品演出影音片段的授權，爲收入本叢書的另一考量標 準。影音與書寫既然是
部雲端叢書的關
字，我們期待
樣的編輯
概念，能較為據實地反應臺灣舞臺的繽紛風景，更能啓動劇場的綜效 機制。 在以上兩項標準之外，我們儘量兼顧資深與年輕工作者的新創與經典 作品，希望獲得更多表演藝術工作者的認同，提醒他們在製作演出之 餘，留意表演藝術作品如何以其他形式再生產，爲日後的產業化奠定 少年金釵男孟母
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紮實基礎。
致謝與致敬 在編輯過程中，我必須感謝所有創作者、製作團體、「國立中正文化 中心」與「財團法人公共電視文化事業基金會」的支持與授權；感謝 王
玲教授、林鶴宜教授、石婉舜教授、施如芳女士、劉微明女士、
藍貝芝女士為首批出版的六部劇作
寫導言，提供專業而繞富趣味的
閱讀切入角度。感謝提供我們法律諮詢，甚至爲我們規劃表演藝術智 財權法律工作坊的陳思宏律師、湯其瑋律師與李友琦女士；臺灣的表 演藝術如果想要進行產業升級，如何在創意內容共享與智財權的界定 之間找到平衡，是我們共同的課題。特別感謝石婉舜教授在出版林摶 秋先生劇作的過程中不憚煩勞，與編輯群往復討論，並提供各式編輯 相關資
，以及李育娟教授擔任我們的日文翻譯諮詢；感謝優秀的英
文翻譯團隊許仁豪博士、劉微明女士、司徒嘉怡博士、Frank
Episale
先生，沒有他們的心力投注，我們幾乎不可能在急迫的執行期限內， 完成主要英文譯文，爲日後的國際發行奠定基礎。
《表演臺灣彙編》叢書總編輯，2013年10月
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Performing Taiwan: Script, Design, Stagecraft, 1943– is an e-book series based on works archived by the Electronic Theater Intermix in Taiwan (eti-tw.com). Funded by Ministry of Culture, this project is a collaboration between the Performance Center and the Research Center for Theatre & Performance Studies at National Central University. In this era of e-books, we hope to engage a new editorial concept and platform of distribution intended to fully capture the three-dimensional splendor of the age-old medium of stage performance. That is, while providing the reader with written text, we also emphasize a side-by-side presentation of audiovisual information, incorporating a significant number of recorded performance segments and images. In 2010, in an economic atmosphere in which arts subsidy cuts were offset by talks of creative industry upgrades and a value-added economy, the Law for the Development of the Cultural and Creative Industries began to take effect in Taiwan. While the Taiwanese
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performing arts community responded with seemingly re-energized fervor, it is evident that performing arts in Taiwan barely makes a small enterprise; professionalization in the performing arts scene is also still in progress, and so it is unrealistic to expect industrialization in the near future. At the same time, Taiwan cannot afford to be absent from the global discussion of cultural and creative industry development. The aim of this collection, then, is to explore the possibility
of
creative
intellectual
property
re-production
of
performing artworks outside the stage, and to accumulate some building blocks and resources for further development in the performing arts community's journey toward professionalization and eventual industrialization in Taiwan.
Performing Taiwan includes five series of publication: the Drama Script Series, the Xiqu (Chinese Opera) Script Series, the Performance Text Series, the Design Series, and the Stagecraft Series. With these five series, we hope to fill in some blanks in the insufficient and poorly distributed written records of the past, and to present the overall creative trajectory of the performing arts in Taiwan over the last seventy-odd years, from three angles: performance text, design, and stagecraft. With the publication of this collection, we hope to 少年金釵男孟母
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open up a window of reading and appreciation for all modes of performing arts, from theatre to operatic Xiqu, puppetry to musical theatre, physical theatre to dance. The Drama Script Series, the Xiqu Script Series, and the Performance Text Series are text-based categories used to present different aspects of the content of Taiwan's performing arts during the last seventy years. However, such categories are insufficient for reflecting the diverse creative modes of performing artists in Taiwan, who are known for breaking boundaries, often merging elements from different genres and disciplines to create unique works. To highlight this characteristic, we decided to discard the traditional editorial division of labor and allow the creators to designate the categorization of their own works. Therefore, it is possible for the reader to come upon plays that make use of traditional Xiqu elements but read more like modern theatre in the Xiqu Script Series, or to discover boundary-crossing works in the Drama Script Series. Also, in service of performance texts that fall outside the realms of drama and Xiqu—works that may not be contingent upon written text or speech—we planned the Performance Text Series. In this series, we invite creators (such as directors or choreographers) to write about the staging and realization of their works in order to archive and 少年金釵男孟母
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record quality performances that the reader would otherwise be unable to access. In addition to written records of performance texts, the Design Series and the Stagecraft Series are also in the works. Over the past thirty years or so, the performing arts community in Taiwan has cultivated a great army of professional designers and technical theatre specialists. Their creative endeavors are just as much a part of the lifeblood of the Taiwanese stage as other artists, and yet they are the performing arts workers least familiar to the general public. In order to facilitate the reutilization of the creative solutions and experiences of these two contingents, and to foster the distribution of professional knowledge in performing arts, we invite experienced designers and technical theatre workers specializing in unique stagecraft to compose on-topic, accessible e-books so as to complete the records of the development of performing arts in Taiwan.
The most basic selection criterion for the works of Performing Taiwan: Script, Design, Stagecraft, 1943– is that each work must have been publicly staged prior to publication. In the Taiwanese performing arts scene, a play must first garner certain social resources in order to 少年金釵男孟母
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receive a ticketed, public production. The acquisition of such resources can be seen as endorsement of and appreciation for the work, its creative and production teams. With the exception of a few works of classics for which no such records are available, our ability to obtain authorization for the use of audiovisual documentation of a work in performance is a deciding factor for the work's inclusion in the collection. Since audiovisual content and written text are the two key elements of this online collection, we hope that, by adhering to this editorial principle, we may more accurately reflect the diverse flavors of the Taiwanese stage and trigger a synergistic mechanism in Taiwan's performing arts. Aside from the above principles, we strive to maintain a balance between new works by up-and-coming artists and classics by veterans of the stage while building the collection. Hopefully, this will court recognition from more performing arts workers and remind them to take note of alternative approaches to reproducing works of the performing arts in order to build a solid foundation for future creative industries.
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As we move forward in the editorial process, we must thank all of the artists, the production companies, the National Chiang Kai-shek Cultural Center, and the Public Television Service Foundation for their support and endorsement. We would also like to thank Dr. Ayling Wang, Dr. Ho-yi Lin, Dr. Wan-shun Shih, Ms. Ju-fang Shih, Ms. Wei-ming Liu and Ms. Betsy Lan for penning introductions to the first six works of the collection, offering informative and inspiring entry points for the reader. We thank Mr. Simon Chen, attorney-atlaw, Mr. Chi-wei Tang, attorney-at-law and Ms. Yo-chi Li for valuable legal advice. Many thanks again to Dr. Wan-shun Shih for tireless discussion with the editorial team regarding the publishing of playwright Tuan-chiu Lin's work, as well as for offering editorial advice and relevant information. Thanks also to our Japanese translation consultant Dr. Yu-jiuan Li, and four devoted English translators, Dr. Jen-hao Walter Hsu, Ms. Wei-ming Liu, Dr. Chiayi Seetoo, and Mr. Frank Episale, without whose hard work it would have been nearly impossible for us to produce the English texts that would serve as the basis for future international distribution within such a limited timeframe.
少年金釵男孟母
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Katherine Hui-ling Chou Editor in chief of Performing Taiwan, October 2013
少年金釵男孟母
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導言 戲裏乾坤翻新意 文／王
《少年金釵男孟母》之審美效應與倫理省思
玲（國立中山大學文學院／副院長）
《少年金釵男孟母》（以下簡稱《少年金釵》）一劇，係改編自清初 李漁（1611-1680）的短
小說集《無聲戲》第六回〈男孟母教合三
遷〉。李漁此作，堪稱明末清初「男色」書寫中，將同性戀情納入人 倫綱紀的一
奇文。而由「無聲」到「有聲」，改小說為戲劇，編導
周慧玲以現代劇場中時空轉換、性別越界與角色扮演的多元手法，藉 由創作社的精彩演出，引領我們經歷了一番同性情愛與倫常道德由衝 突激盪到交融內化的奇異旅程。 《少年金釵》一劇分上下兩部，第一部為「少年金釵前世緣」，背景 為一九一二至一九一五年的閩中；第二部為「男孟母遷今生情」，時 空轉換為一九五九至一九六四年的臺灣。前半情節主要依循李漁原 作，後半則著重描寫瑞娘攜子遷臺，改編幅度較大。李漁小說之特色 在於他字裡行間一貫的
諷語調，一邊歌頌同性戀愛中的忠誠與貞
節，一邊又嚴肅批判男男戀的離經
道，違反人倫。對於
看似矛盾
的兩種聲音，周慧玲曾自謂：「《少年金釵》表面上看來，有基本人 倫，又像顛覆那基本人倫，但兩者都不是我真正關注的。我想要呈現 少年金釵男孟母
潑墨書房
的是，不受定義制約的真實情感。」為了鋪陳
種「不受定義制約的
真實情感」所具有的「曖昧性」，周慧玲在劇本起始曾開宗明義地闡 述其改編構思在於「角色分配」與「場景設定」。首先，
在李漁文
本清一色男男相處的「南（男）風」排場下，刻意安排由女演員徐堰 玲「反串」尤瑞郎一角，並將由女演員所飾之王肖江設定為瑞郎「女 扮男裝」的表姊。舞臺上，由兩位女演員扮演的瑞郎與肖江都散發出 亦男亦女之「陰中陽」／「陽中陰」的氣質，此種性別角色的曖昧與 不確定，造就了舞臺上「雌雄同體」（androgyny）的視覺美感，並延 伸出瑞郎與肖江之間既似夫妻，又似兄弟、兄妹、姊妹與姊弟的多重 人倫關係，也使全劇在敷演男男戀情的同時，拓展了女同志與「性別 倒錯」之異性戀情欲流蕩的想像空間。而由此所開展之表演層次上的 「跨性別扮裝」問題，如瑞娘的女裝，是由戲外徐堰玲的「反串」加 上劇中的再反串，其所展現的性別表演及情感內化的複雜度，已超越 了傳統戲曲中乾旦與坤生的表演程式。當然，若就關
性情節，如瑞
郎與季芳的「同志」性愛或瑞郎的「自宮」場面而言，由女演員或男 演員扮飾瑞郎，在舞臺視覺上所呈現的戲劇性衝擊與張力，必然會有 所不同。其各自的效果，乃至編導者所期待於演員的突破所在，皆是 可以嘗試加以比較，並深入探討的重點。 《少年金釵》的另一創意，展現在將男孟母的場景，轉換至民國三年 的閩中與民國五十年末的臺灣。劇中瑞郎因季芳指其「此物」為「離 散之根」而毅然自宮，藉以表達其生死相許的至情；但諷刺的是， 少年金釵男孟母
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原本是為了確保同性戀情不受異性戀威脅的驚人之舉，卻實際造成了 日後季芳遭羅織入罪喪命，而瑞郎失親逃亡與輾轉遷徙的「離散之 因」。瑞郎在歷經自我去勢、失去至愛的「双重失根」後，已伶 所歸屬；每一次的遷徙，對
無
而言，表面看來是出自守貞避禍，其實
也暗示著進一步的「去陽剛化」（de-masculinity）的過程。從男風盛 行的「同志原
」遷移至臺北，當時正
一九五零那個「冷戰嚴峻，
飽受壓抑的年代」。周慧玲巧妙地以「恐同」（homophobia）類比當 時臺灣的「恐共」，也凸顯了「同性戀」如同「匪諜」般在系統化秩 序之外被鄙斥的地位。（
）雖然在臺第二代如「承先」、「念
祖」、「繼業」、「重生」等之命名，暗示了一脈相承的父系家族譜 系，但因此一「命脈」，是由男扮女裝的跨性別「母親」、女扮男裝 大半生的「阿姨」與男同志兒子及未來「同志媳婦」組成的另類家庭 來繼承，究竟
是雙重「失根」後的又一「離散」（diaspora），還是
落地「生根」後的另類「歸屬」（belonging）（
）？實頗耐人尋
味。而劇末瑞郎與承先的雙雙「出櫃」，似乎又巧妙地續寫了隱藏在 父系傳承底下的同志族譜。 總之，無論是對於「孟母三遷」原典意義的諧擬轉化，或是透過「性 別越界」與「角色扮演」在男同志之戀中巧妙點綴女同志與異性戀情 慾，作為改編自十七世紀中國小說的劇作，《少年金釵》堪稱是一部 成功轉化古典， 參見翁筠 少年金釵男孟母
得品賞的現代好戲。
：〈漂浪奇觀：《少年金釵男孟母》的華人酷兒離散〉，《文化研究雙月 潑墨書房
報》第123期（2011年12月25日）。（http://csat.org.tw/journal/Content.asp? Period=123&JC_ID=502） 周慧玲在劇本〈作者序〉中特以「島嶼上的華人酷兒家族譜」為題，顯示其「重譜華 人酷兒史」之意圖。以臺灣為劇中人最後的落
處，固然是《少年金釵》的一大創
意，亦讓有關酷兒「離散」與「歸屬」的思考獲得進一步的延伸。參見周慧玲：〈作 者序：島嶼上的華人酷兒家族譜〉，《少年金釵男孟母》（臺北：大可出版社，2009 年），頁4-7。
少年金釵男孟母
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He Is My Wife, He Is My Mother (hereafter referred to as Wife, Mother) is adapted from Ming Dynasty dramatist Li Yu’s short story, “Male Mother Meng’s Three Moves,” in his collection of short stories, Silent Drama. The story is unique amongst the homoerotic writings of late Ming to early Qing Dynasty in that it incorporates queer relationships into the Confucian modes of familial ethics and social order. To give voice to the “silent drama” and adapt the short story for the stage, playwright and director Katherine Hui-ling Chou makes deft use of the diverse vocabulary of modern theatre such as role play, the transition of time and space and the subversion of gender expressions. In the extraordinary production presented by Creative 少年金釵男孟母
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Society, Chou guides the audience through a fantastical and strange journey during which homosexual love and Confucian morality come together, first in clashing opposition but ultimately in harmony and integration. Wife, Mother is in two acts. The first act is titled “Beauty in Youth, Love in Kind,” and is set in Fujian, China between 1912 and 1915; the second is “Old-fashioned Motherhood in a New Era,” whose setting shifts both in time and space to Taiwan, between 1959 and 1964. The plot of the first act mainly adheres to that of the original short story, while the second act sees major departures, focusing on events after Ruilang and his makeshift family have finished moving around. The point of Li Yu’s story lies in the sarcastic tone of his language, simultaneously praising the loyalty and chastity within homosexual love and criticizing in earnest the unnaturalness and moral corruption in a relationship between two men. Addressing these seemingly contradictory viewpoints, Chou stated, “while Wife, Mother seems to both uphold fundamental ethical models and subvert them constantly, neither position is the true focus of the play for me. What I hope to present are real emotions free from the conditioning of cleancut definitions.” In order to capture the ambivalence born of such “real emotions free from the conditioning of clean-cut definitions,” 少年金釵男孟母
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Chou notes clearly at the outset of the play that her main inspiration for adaptation lies in the allocation of roles and the historical/ geographical placement of the events. Most significantly, within Li Yu’s original all male, “southern wind” cast of characters, she deliberately inserted actress Hsu Yenling in the role of You Ruilang, and created the character of Wang Xiaojian, Ruilang’s cross-dressing tomboy cousin played by actress Wu Weiwei. On stage, the actresses playing Ruilang and Xiaojian exude the ambiguous airs of feminine masculinity and masculine femininity. Such indeterminate gender expressions create a visual style of androgyny, and elaborate upon the multiple Confucian familial relationships between Ruilang and Xiaojian, including permutations of spousal, fraternal and sisterly relationships. Furthermore, the casting arrangement carves out a space for lesbian and transgender desires within the play’s main focus of gay romance. On a related note, the transgender crossdressing in performance is of interest here. For instance, Ruilang’s cross-dressed feminine persona of Ruiniang is presented onstage by Hsu Yenling, whose performance as Ruilang is in itself an act of cross-dressing. Such complexity in gender performance and emotional internalization far surpasses that of such traditional xiqu performance conventions as the male dan actor and the female shen actor. Naturally, in the key plot points such as Ruilang and Jifang’s 少年金釵男孟母
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gay sex scene and Ruilang’s castration, the choice of an actress instead of actor for the role of Ruilang must alter the dramatic tension and visual impact onstage. The pros and cons of such a choice, the would-be effect of a male actor in the same role, and even the director’s possible expectations for the performers involved are all interesting points to delve into. Another creative approach in Wife, Mother is the decision to set the geographical/ historical background of the play in Fujian in the 1910s and Taiwan in the 1950s to 1960s. In the play, Ruilang commits selfcastration as a declaration of lifelong commitment and love in response to Jifang’s remark that Ruilang’s “member” will be “the cause for [their] inevitable separation.” Ironically, this shocking act, meant to reaffirm the homosexual union and ward off threats from the heterosexual world, is in fact the cause of Jifang and Ruilang’s separation: Dalung uses it to incriminate Jifang, causing his death; subsequently, Ruilang flees the province and begins a series of relocations. After being uprooted twice—the self-castration and the loss of his beloved—Ruilang is truly lost at sea; each one of his relocations may seem like another step away from harm, but also hints at another level of de-masculinity. Gradually, Ruilang’s family moves away from the homoeroticism-prevalent homeland of Fujian 少年金釵男孟母
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to finally settle down in Taipei in the 1950s, the era of Cold War and repression. Chou draws a clever comparison between homophobia and the Taiwanese communism-phobia of the time, and brings to focus the scorned and despised status of homosexuals as outliers of social order, just like spies during this era.(note) The second generation male characters in the play are named after such concepts as cheng xian (“taking up mantle,”) nian zu (“remembering ancestry,”) ji ye (“continuing family legacy”) and chong sheng (“rebirth,”) implicating a system of paternal family lineage; however, this patriarchal lifeline is ultimately inherited and passed on through an alternative family made up of a male-to-female transgender mother, a female-to-male cross-dressing aunt, a gay son and the future son-inlaw. Is this further diaspora after Ruilang’s doubled loss of roots, or a chance for him to take root where he lands, an alternative take on belonging? (note) Also, Ruilang and Chengxian’s respective acts of “coming out” at the end of the play seem to be an ingenious continuation of a LGBT lineage, hidden under the apparent continuation of the patriarchal line. In conclusion, whether attempting to parody and transform the original meaning of the classical parable of “Mother Meng’s Three Moves,” or to cleverly infuse a gay romance with the love and desires 少年金釵男孟母
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of lesbians and heterosexuals through the use of gender-crossing role play, Wife, Mother proves effective in its mission. For a play adapted from a short story written in 17th century China, Wife, Mother is indeed successful, transforming an old text into ponder-worthy material for the modern audience. Yuin Ting Ong, “Miracle of Diaspora: the Queer Chinese Diaspora of He Is My Wife, He Is My Mother,” in Culture Studies Bimonthly, vol. 123 (December 25, 2011) (http://csat.org.tw/journal/Content.asp?Period=123&JC_ID=502) Chou titled her introduction to the play as “The Queer Chinese Family Tree in Taiwan,” showing her intention of re-calibrating the queer history of the Chinese-speaking world. The choice of Taiwan as the final point in Ruilang’s relocations is indeed a unique design in Wife, Mother; at the same time, it also serves as fodder for further elaboration in the discussion of queer diaspora and belonging. For more information, see Katherine Huiling Chou, “The Queer Chinese Family Tree in Taiwan,” in He Is My Wife, He Is My Mother (Taipei: Duck Books, 2009), P. 4-7.
少年金釵男孟母
潑墨書房
《少年金釵男孟母》劇本
編劇／周慧玲 原著／【清】李漁（
∼
）《無聲戲．男孟母教合三遷》
劇情簡介 （民國元年）至
，閩中：
「南風」（男風）盛行的閩中地區，秀才名士許季芳育有一子，妻則 因產
亡故。季芳後與美少男尤瑞郎相戀，尤父要求重金下聘，以解
家困。季芳於是變賣家產，聘娶瑞郎回家，並共盡孝道，奉養尤父終 老。瑞郎感念季芳情義，自宮以表堅貞，兩人誓守終生。 好景不常，正當許尤沈浸在愛情之際，季芳舊愛──同時也曾追求瑞 郎的南風者陳大龍，因
構陷季芳「私養閹童、擅立內監，圖謀不
軌」。季芳被拘捕至法庭公審，法官忌南風，反欲酷刑罰瑞郎，
南
風者圍觀，爭睹瑞郎美色。季芳勇救瑞郎，卻經不起棒刑而死，臨終 向瑞郎託孤，並囑遷走他
至
少年金釵男孟母
，遠離南風者。
，臺灣：
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改名瑞娘的瑞郎，與喜著男裝的表姊肖江，如父如母合力撫養季芳遺 孤承先長大成人。瑞娘為避免悲劇重演，極力防止承先與男性友人交 往，甚至效法孟母三遷。但承先終究愛上昔日仇人陳大龍的 番轉折，瑞娘終於接受
個事實，認可了
子，幾
第二代的戀情，而承先也
終於清楚了母親隱藏多年的身世。瑞娘亦母亦父，獨立扶養承先為人 中龍鳳，經校長薦舉，瑞娘獲頒模範母親。
開場詩 【上舞臺處，三隻鼓
，一隻茶几，擺放如茶館。】
【南風樂聲中，趙黔孫、李州吾共 趙：細雨茸茸濕楝花（
雙人
踏車上。】
），南風樹樹熟枇杷。
楝音【練】，臺灣常見的喬木，名苦楝，又名苦苓、森樹；英文名稱China Tree。
李：徐行不記山深淺，一路鶯花送到家。趙兄，
是誰的詩句，我怎
麼想不起來？ 趙：明朝洪武年間，生在蘇州，號稱吳中四傑之一的楊基。
少年金釵男孟母
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李：楊基？真是好名配好詩。 趙：何以見得？ 李：有雞的，當然姓陽，難不成姓陰麼？ 趙：李兄真不愧是讀聖賢書。但
名和那詩，又有何關連？
李：你細想想啊，（示意趙停車，慢唸）細雨茸茸濕楝花，南風樹樹 熟枇杷，看到畫面了 趙：
？南風，枇杷，兩粒一串，有沒有？
，然後，徐行不記山深淺，我慢慢進去忘了有多深，一路鶯 花送到家，
李：你都想到
呀，人家臉都紅了。
裡去了，趙兄？開場詩就讓你臉紅，那
才開場的
戲，你怎麼往下看？ 趙：如此，李兄有何建議？ 李：趕快出去。 趙：可我票都買了，廁所也上了！ 李：那就勇敢地看下去。
少年金釵男孟母
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趙：要多勇敢？ 李：一九一二。 趙：啊？ 李：一九一二年的事，敢不敢，去不去？ 趙：一九一二年？民國元年？
，現在都民國幾年了？怕什麼？走！
李：如此，趙兄請就座。 趙：等我先把
不吃草的毛驢
了。（靠妥雙人
踏車）
李：你那毛驢也怪，一個頭，兩個屁股。 趙：數大便是美，屁股多就是好 。 李：（對趙）越多越大越美好？
第一部 少年金釵前世緣 一、南風樹下閩天情 少年金釵男孟母
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【茶館裡，一幫文人──陳大龍、趙黔孫、李州吾雅聚。】 【陳大龍取三弦，調音定調。】 李：大龍，季芳從北京回來了，你可知道？ 趙：大龍和季芳什麼交情，豈有不知的道理？ 李：那他身邊那位，你看怎樣？ 趙：那不是他的同窗 李：同窗？大門一個，
？ 裡有誰不是同窗？
陳：是季芳自己說的？ 李：可我不信，你
？
陳：什麼信不信，我又沒見過。 趙：原來你們還沒？ 【許季芳伴
某等進。】
陳：（唱）並蒂芙蓉連理枝，誰云草木讓情痴？（ 少年金釵男孟母
人同和）人間果 潑墨書房
有南風樹，不到閩天
得知？
：季芳，那唱的是什麼？什麼風木有情？ 陳：天經地義的事，學堂從來不教的事。 許：大龍把大家都罵進去了。
：某等愚魯，學堂裡文章經世之道， 趙：多
。譬如，（比劃著）種樹
還有什麼不教的
？
。
：種樹？想不到閩中學子，竟還有如此風雅？
少年金釵男孟母
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李：不過，我們只種南風樹。 ：南風樹？是此地特有的奇樹
？某等倒是從未聽聞過。不知
南
風樹究竟長得什麼樣？
陳：深山之中有一種榕樹（指趙），別名南風樹，凡有小樹（指李） 在榕樹之前，那榕樹畢竟要斜著身子去勾搭小樹，久而久之，勾 搭著了，把枝柯緊緊纏在小樹身上（趙李費力演繹），小樹也漸 漸倒在榕樹懷里來，兩樹結為一樹，任你刀鋸
鑿，拆他不開，
所以叫做南風樹。
少年金釵男孟母
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：
是福建地方男兒子們的摔角遊戲吧？某等孤陋，不曾識得，只 因敝
小童最多只玩騎馬打仗（也比劃一番），不像你們，竟能
把身子拗折得如此 許：
般。
兄取笑了。不過，我們閩中確實有此陋習。
陳：是啊，陋習！都是那中古之時，兩個男子好好地立在一處，為什 麼
一個忽然就想起
樁事，那一個又欣然肯做起
樁事？真好
一段幻想。 ：啊？ 許：大龍，我跟你介紹一下， 少年金釵男孟母
兄某等是我在北京的同窗。某等， 潑墨書房
位是我
著名的詩詞三傑之一，陳大龍。
：陳兄，久仰。 陳：
兄，不敢。
許：大龍，某等不熟習 陳：作風？去了
閩中作風，別把他嚇壞了。
京師，琵琶別抱，美女做懷，妻妾成群，兒女成
堆，到頭來還要把我們
幫哥們數落成陋習？作風？你也
有情
有義了吧，許秀才？ 許：沒有的事。 陳：
，是我弄錯了。你只是念及「不孝有三，無後為大」，少不得
要娶房家眷，度個種子，延續香火。 李：看大龍
少年金釵男孟母
裡就把我們忘懷了
？
得眼紅臉也綠。
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少年金釵男孟母
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【趙、李隔著
某等，無視於
的存在，竊竊私語。】
趙：也難為大龍，想當初他也曾做了季芳的相處， ：相處？ 趙：
兄不知相處？
：不知。 趙：
要怎麼說
李：某等兄，你
？ ，要是有個紅粉知己，那姑娘就是你的相好。
：某等不敢。 李：要是像季芳和大龍當年那樣 ：他倆當年怎樣
，就叫相處。
？
趙：他倆啊，當年成天攢在一起，終日聞香嗅氣，賣笑求歡。 ：啊？ 趙：正打得火一般熱，季芳卻突然別他而去，一 少年金釵男孟母
京師三年才回，右 潑墨書房
手一個老婆，左手一個兒子。 李：後面（指著
某等）還跟著一個同窗好朋友。
：（一臉茫然，接著恍然如悟地）
呀，兩位兄臺誤會了！
許：大龍，我怎麼看女子，哥們不知，你也不知麼？ 陳：我知什麼？我有什麼可知的？ 趙：
兄恐怕不知，季芳當年可也是個面如冠玉，唇若塗朱的美少 男。婦人把他看得熱滾，他把婦人卻看得冰冷。還有句「婦人七 厭」的名言。
：什麼七厭？ 李：七個討厭。 趙：塗脂抹粉，以假為真，最討厭。 李：纏
鑽耳，矯揉造作，第二討厭。
趙：乳峰突起，贅若懸瘤，三可厭； ：前兩厭， 少年金釵男孟母
某深有同感，但
第三，當事人不厭，我們也沒什麼 潑墨書房
好抱怨的吧？ 李：還有還有，那婦人啊，出門不得，繫若匏瓜，既帶不出門，根本 就是中看不中用，能不討人厭 趙：何況
？
兒帶女，不得自由，也是討厭。
李：月經來潮，沾席
，最惹人厭。
趙／李：最後一樁，除了生兒育女，人生茫然無著，不知所措，討厭 極至。 ：那都是不得已的嘛。豈有天生喜歡大門不出、沒有自由、一輩子 茫然度日的？如此見識，
偏頗，也
無情了吧？
許：反正不如美男的姿色，有一分是一分，有十分是十分，全無一毫 假借，從頭至
，一味自然。任我東南西北，帶了隨身，既少嫌
疑，又無挂礙，做一對潔淨夫妻，何等不妙？ 陳：季芳，聽說嫂夫人為了幫你許家生個白胖小子得了產癆亡故了， 沒想到人家去了才多久，你就 許：
事，
樣沒心沒肝的數落婦人家？
人皆知，我也沒變過，就算對你大嫂，我也不曾相瞞。
當初對家裡的難處，你不諒解我不怪你。到了現在，我也只覺得 少年金釵男孟母
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一身輕巧，正好續弦。 ：季芳雖然鰥居好一陣子，可是你對女子如此態度，要怎樣續弦 ？ 陳：他想的，怕就是你吧，
兄？難怪他甘願當那麼久的鰥寡孤老頭
也不外遇。 ：
跟我有什麼相干？
許：不要聽他胡說。某等兄，今天是我們興化府為了感念天妃媽祖保 佑，讓本
子民在別處一片荒旱中獨享豐熟，特地在
后宮前，大興盛會，酬謝
州島上天
力懇上帝之功。那賽會呀，只除女子
不到，合郡男人，無論黃童白
，沒有一個不來。你去不去？
：啊？只有男人的賽會？ 趙：也是有女子的，譬如 大
。
郡唯一得人緣的女子，媽祖娘娘那個黑臉
不，整個賽會，就為了懇謝
陳：說來也要感謝天妃庇佑，讓
，
不到行
？
幫愛南風的，有個良辰吉時好估
成色，也讓你那同窗大德許秀才，好好的選妃看妾一番。只勸兄 臺啊，當心你被人
少年金釵男孟母
了還不知道。
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：陳兄， 李：好
是從何說起
，人潮漸
？
，再不登島，稍等連媽祖
口都擠不進，就只能
落在人後數著美人屁股。快走吧。 【
人趨前欲行，走過
趙：走吧，
某等身邊，都忍不住對他柔捏戲弄一番。】
哥哥。
李：當心跟不上
，
哥哥。
趙：等一下，帶了文房四寶沒？ 陳：早準備了。 ：拜
燒香，要紙筆幹嘛？
許：他們啊，每次賽會都要攢造一本南風冊，回來評個高下，定出等 第，出一本美童寫真集。某等兄，你筆下丹青甚妙，不如幫忙素 描一番，省得
幫人，看花了眼，事後選個麻雀作鳳凰。
：不妥不妥！小弟向來崇拜漢唐山水，不善仕女花鳥，何況你們 南風樹下的，
少年金釵男孟母
，萬種風情，我還沒看明白
！
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陳：
兄
謙咯。我們閩中幽情若得
君子丹青之筆的青
，不但是
雅事另添一樁，還可省得有人嫌我們眼拙，說什麼錯把烏 雞
當雄
。得了，紙筆算是我幫你拿著，請吧。除非，你真想跟在後
面看屁股？ ： 【 陳： 【 李：
無此事，陳兄不要消遣我。
不？我走第一個！
某等急下。】 兄，是
邊。
某等回轉，反向急下。趙、李踏著雙人 ，
兄，別
踏車跟隨在後下。】
那麼快啊。難道真要我們追著你的屁股看
許：大龍，看你把人家說急得。
？
麼多年了，你愛作弄人的脾氣，一
點不變。 陳：我才不像有些人，說變就變。 許：大龍，當年我 陳：誰有空跟你話當年？還不快跟上去？真讓他
少年金釵男孟母
了
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The story begins with the romance between Xu Jifang and You Ruilang in middle Fujian where Nanfeng fashion (homosexual love affair) is commonly practiced; time: 1912, the first year of the Chinese Republic. Jifang, the last selected xiucai from Qing Dynasty has a son and wife, who died from birth giving. Jifang falls in love with the beautiful youth, Ruilang, and puts himself in poverty for the betrothal gifts demanded by Ruilang’s poor and needy father. Jifang also serves Ruilang’s father and mourns his death due to his deep affection for Ruilang. Determined to remain true and loyal to Jifang, Ruilang castrates himself in order to repay Jifang’s passion and favor. Jifang and Ruilang’s sweet love is deprived at the height of their passion. Due to his jealousy, Chen Dalong, Jifang’s previous partner plots against him and has him arrested for interrogation. Dalong accuses Jifang of “performing castration in his own household,
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having eunuch serve him, and intending to plot revolt against the nation.” The judge punishes Ruilang instead due to his contempt against Nanfeng. As Ruilang undergoes the punishment of caning, people who are into the fashion surround him in order to examine his dainty flesh. In order to protect Ruilang, Jifang dies from the punishment. He leaves Ruilang with his dying words, urging Ruilang to take care of his only son, leave their hometown and stay away from Nanfeng. The tension engendered by generation gap and personal/family history outlines the second part of the story. Situated in Taiwan from 1959 to 1964, Part Two is unfolded with Ruilang and Xiaojiang’s (Ruilang’s cousin who is always in men’s wear) unconventional relationship and their unconditional devotion to each other. Ruilang, who changes his name to Ruiniang raises Chengxian (Jifang’s only son) with Xiaojiang. In order to protect Chengxian from the disaster caused by Nanfeng, Ruiniang even follows the model of Mencius’s mother of house-moving , endeavoring to forbid Chengxian becoming intimate with male friends. Despite Ruiniang’s efforts, Chengxian still falls in love with Chen Dalong’s nephew, Chen Nianzu. Ruiniang finally accepts their relationship in the course of time. Ruiniang plays the roles of both father and mother; such virtue 少年金釵男孟母
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is further confirmed by Chengxian’s graduating at the top of his class. Ruiniang receives the Model Mother Award because of Principal Zheng’s (Zheng One) recommendation.
Three drum-shaped stools and a tea table are placed US, denoting the interior of a teahouse. While southern China–style music plays, Zhao Qiansun and Li Zhouwu enter riding a tandem bicycle. Zhao: “Spring rain drizzles upon the china trees, Loquats ripen in the southern Fujian breeze.” Li: “Slowly I meander through forgotten mountain paths, Till flowers point the way, bringing me home with ease.” Dear Mr. Zhao, whose poem is this? I don’t recall. Zhao: That was Yang Ji’s poem. He was born in the Ming Dynasty in Suzhou, and was one of the four most prestigious poets in the province.
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Li: Yank Jizz? A most well-appointed name, for a most deserving poem. Zhao: How so? Li: One must yank to create jizz. It is instruction and solution in one. Zhao: Your statement is well reasoned. Still, I fail to see the connection between poet name and poem. Li: Just imagine the scene… (Signals to Zhao to stop the bicycle, and recites slowly) “Spring rain drizzles upon the china trees/ Loquats ripen in the southern Fujian breeze.” Do you see it? The wetness, the southern wind blowing, the teardrop shapes of the loquats as they hang glistening, two on a branch? Zhao: Yes! And then: “I meander through forgotten mountain paths,” I am slowly going deeper and deeper; and for the triumphant finish, “bringing me home with ease!” Oooh, I am blushing. Li: Get your mind out of the gutter, Mr. Zhao. If the prologue can make you blush, I doubt you will last through the play without combustion.
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Zhao: Well, pray tell, sir, what do you advise? Li: Leave while you can. Zhao: But I’ve already paid for the ticket and made the pre-show restroom run! Li: March on, then, brave soldier! Zhao: How brave will I have to be? Li: 1912. Zhao: Eh? Li: It happened in 1912. Do you dare venture so far back in time? Zhao: 1912? That is over a hundred years ago. What have I to fear? Li: Indeed. Well then, after you, sir. Zhao: Let me bring my iron donkey to pasture first. (Parks and secures the tandem bicycle.) Li: A strange donkey, with one head but two behinds. 少年金釵男孟母
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Zhao: There is beauty in numbers. More behinds, more enjoyment. Li: The more the merrier?
“Southern wind” is the literal meaning of the term naffing (南風); its homonym in Chinese characters, 男風 (literally “man wind”), is a traditional term for male-male homosexuality.
Putian (sometimes called Xinghua), Fujian Province, China. In the teahouse, three intellectuals—Chen Dalong, Zhao Qiansun and Li Zhouwu—are gathering. Chen Dalong idly tunes the sanxian. Li: Dalong, have you heard? Jifang has returned from Beijing. Zhao: Of course he’s heard. Don’t you know how well Dalong and Jifang know each other? Li: What do you make of the one at his side? Zhao: That one? Was he not a schoolmate? 少年金釵男孟母
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Li: Schoolmate? Ha! With such shared interests, we may as well all be schoolmates. Chen: Didn’t Jifang say so himself? Li: Even so, I don’t believe it. You? Chen: Believe what? I haven’t yet had the pleasure of meeting him. Zhao: Oh, so you two haven’t…? Chen: (sings) “The cotton roses bloom, two flowers sharing a branch/ Plants may yet love, sheltering lovers, carte blanche” Xu Jifang enters with Zheng One. All but Zheng: (joining Chen) “The southern wind trees thrive in the spring/ Only in Fujian can their ilk be seen.” Zheng: Jifang, What song are they singing? What is this about plants and love? Chen: This song is about human nature, about essential knowledge never taught in classrooms. 少年金釵男孟母
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Xu: Dalong, you are including all of us in this assessment? Zheng: Forgive me, sir, I am confused. What essential knowledge are we missing in the classrooms? Zhao: So many things. For example, (gestures) tree planting. Zheng: Tree planting? I had no idea the academics of Fujian are so interested in agriculture. Li: Interestingly, the only tree we plant is the southern wind tree. Zheng: Southern wind tree? Perhaps it is a local species? I have never heard of it. May one ask what it looks like? Chen: Deep in the mountains of Fujian is a kind of banyan tree. (Points to Zhao) Whenever a sapling (Points to Li) takes root near an adult tree, the banyan leans over toward the sapling. As time goes by, it reaches the young tree and entangles its branches with it, so very tightly. (Zhao and Li overtly demonstrate the entangling.) The sapling also falls gradually into the embrace, until the two become an inseparable whole. Such is called the southern wind tree.
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Zheng: Ha, ha! This demonstration must be a local wrestling game as well? I must confess ignorance of, and fascination with, your display, especially the athletic angles of your bodies. At home, we only have cruder children’s games, like imaginary battles. Xu: One, you jest. Still, we do indeed have these quaint customs here in Fujian. Chen: Quaint customs indeed. An antiquated practice. How did it come into being? Why would two men, standing straight next to each other, be suddenly overcome by the desire to conduct such twisted business? Zheng: Eh? Xu: Dalong, allow me the introductions. Mr. Zheng One here is a schoolmate from Beijing. One, this is the illustrious Mr. Chen Dalong, one of the most revered poets in these parts. Zheng: Pleased to make your acquaintance. Chen: The pleasure is mine.
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Xu: Dalong, One here is not familiar with our Fujian customs; do try to spare him the shock. Chen: Fujian customs? You think you can run off to Beijing, cast off old friendships, soak in feminine affection, get married, have children, and then be so aloof as to return only to ridicule the local practices? Is this your idea of loyalty, Mister Xu the scholar? Xu: That is not true. Chen: Oh, I am terribly sorry. You were just giving into the Confucian teaching of showing filial piety by producing offspring. You didn’t really mean to abandon us. Li: Dalong’s jealousy is not very becoming. Zhao and Li begin a whispered gossip session, heedless of Zheng, who stands helplessly sandwiched between them. Zhao: No wonder this is difficult for Dalong. After all, he was Jifang’s familiar. Zheng: Familiar? 少年金釵男孟母
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Zhao: Mr. Zheng is not familiar with the term? Zheng: No. Zhao: How shall I put it? Li: Mr. Zheng, let us say you have a confidant of the fairer sex; she would be your intimate. Zheng: (embarrassed) Ah, well, I have not had the pleasure. Li: As for Jifang and Dalong in the olden days, they were familiars to each other. Zheng: How so? Zhao: They spent each day within each other’s orbits, enjoying each other’s presence, never apart, sharing the same breath. Zheng: Eh? Zhao: Just as their passion was highest, Jifang pulled a disappearing act and went off to Beijing, returning three years later with wife in one arm and son in the other. 少年金釵男孟母
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Li: And… (points to Zheng) a school mate trailing behind. Zheng: (puzzled, until realization dawns) Oh, no, sirs, you are mistaken! Xu: Dalong, the others may not understand my views on women, but how can you not remember? Chen: What should I remember? What is there for me to remember? Zhao: This you may not know, Mr. Zheng, but Jifang was quite an Adonis in his day. Ladies lusted after him; he despised their advances. He even compiled a list of Seven Hateful Weaknesses. Zheng: What seven weaknesses? Li: The Seven Hateful Weaknesses of the weaker sex. Zhao: First weakness: painted faces full of artificial grace. Li: Second weakness: bound feet and pierced ears, engineered and unnatural. Zhao: Third weakness: bulging breasts so cancerously grown. 少年金釵男孟母
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Zheng: I highly concur with the first two weaknesses, but who are we to judge the third one if those born with the attachments have no complaints? Li: There is more: with such bodily modifications, women can hardly step out the door; they are therefore no better than decoration, a hateful weakness. Zhao: Bearing children to limit the freedom of the men: also a hateful weakness. Li: The crimson tide comes monthly, dirtying the beddings, so very hateful and weak. Zhao/Li: And the last one: women are aimless, ambitionless creatures who serve no purpose in life except bearing offspring. Such is their ultimate weakness. Zheng: Still, none of the above is of their choosing. Who can be born to enjoy being trapped indoors and robbed of freedom and ambition? Such a list is biased and rather heartless. Xu: As opposed to the sublime beauty of the male form, which is
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entirely natural and unaffected. One may travel anywhere with a fellow male companion, away from care or suspicion, acting like spouses in innocence and purity. How wonderful it is! Chen: Jifang, did I not hear that Mrs. Xu passed away during childbirth? She lost her life bearing children for your family and, mere months later, you are expounding upon the weaknesses of women? Are you not a bit callous? Xu: I have never concealed my own predilections, not even to my late wife. The pressure of my family legacy forced my actions back then, and I do not fault you for not forgiving me. As of now, all I feel is a great weight lifted from my shoulders, and I am ready to remarry. Zheng: You have been widowed for a while now, Jifang, but how do you expect to remarry if you hold such prejudices against women? Chen: The candidate of his heart is probably you, Mr. Zheng, isn’t it? No wonder he is content to play the widower. Zheng: What does that have to do with me? 少年金釵男孟母
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Xu: Disregard him. One, the city of Xinghua is launching a festival today in honor of Mazu, the local deity. She has blessed the land and kept sickness and famine at bay this year despite reports of disastrous harvests in neighboring areas. The festival will take place around the Heavenly Goddess Temple on Meizhou Island, and while the women of Putian will not attend, all the men will be there. Would you like to go? Zheng: A festival only men attend? Zhao: I suppose not just the men. The dark-faced Goddess Mazu, Putian’s most popular lady, will also be there. In fact, she is the guest of honor, the reason for the celebrations. Chen: Thanks to Her Godliness, we southern wind aficionados are given the perfect opportunity to examine this year’s offerings, and your cohort Mr Xu here can select his next intended at leisure. A word of caution, though, Mr Zheng: unbeknownst to you, a lover’s betrayal may be imminent. Zheng: Mr. Chen, I do not grasp your meaning. Li: Enough talk! The crowd gathers; we must leave for the temple on 少年金釵男孟母
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Meizhou Island presently, or suffer the consequence of only seeing the behinds of the beautiful youths through the mob. The scholars are about to leave; as they pass Zheng, they cannot help but tease him, verbally and physically. Zhao: Come now, darling Mr. Zheng. Li: Don’t be left behind, dear Mr. Zheng. Zhao: Wait, do you have you brush and ink ready? Chen: Of course. Zheng: Why would you need writing instruments to attend a temple festival? Xu: They compile a list of young men at each festival, judging and grading
the
attendees
and
making
a
Beautiful
Youth
Compendium. One, you are a skilled artist, why don’t you help them out and record some of the youths we meet later, in case my friends here make the wrong choice and end up selecting a sparrow over a peacock?
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Zheng: No, no, it is not appropriate. I am much more of a student of landscape, not portraits. Furthermore, I am still acclimating to the range of, er, flavors under your southern wind tree. Chen: Mr. Zheng, you are too humble. To have our local habits documented by your discerning paintbrush would be a great honor; furthermore, it will stopper the dissenting voices who question our judgment with metaphors of birds. Here, you will make use of my stationery. Let us go. Unless you would rather go later, for the view of the behinds? Zheng: No! No! Not at all; you jest, Mr. Chen. Here, I’ll walk ahead! Zheng makes for the exit at top speed. Chen: Mr. Zheng, it’s the other way. Zheng turns around abruptly and exits the other side at top speed. Zhao and Li follow, riding on their double-seated bike. Li: (as they exit) Oh, Mr. Zheng, such enthusiasm! Slow down! Or are you offering us a clearer view of your behind?
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Xu: Dalong, see how flustered you’ve made him. Your penchant for teasing and practical jokes hasn’t changed a bit. Chen: I am not so changeable as someone I used to know. Xu: Dalong, back in the day, I was… Chen: Who has the time for old times? Go chase after your Mr. Zheng, lest he run away… Jifang drags Dalong into a kiss. After a beat, Dalong pushes him off. Chen: And take your heart with him. Dalong exits, followed by Jifang.
The stage setup remains unchanged. You Sihuan paces around with difficulty. You Ruilang kneels on the floor, both hands at his back, holding a hat. Huan: Do you really want to go? Rui: Just a little bit. 少年金釵男孟母
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版權 《表演臺灣彙編：劇本，設計，技術， 戲劇劇本館
》
《少年金釵男孟母》
出版單位／國立中央大學黑盒子表演藝術中心 發行人／周景揚 地址／桃園縣中
市中大路300號
電話／(03)426-4805 傳真／(03)426-4805 信箱／theatre@ncu.edu.tw 作者／周慧玲 戲劇製作／創作社劇團 總編輯／周慧玲 執行編輯／李易修 執行編輯／詹傑 助理編輯／蔡家綾 劇作家／周慧玲 英文翻譯／劉微明、許仁豪 校對／Frank Episale 法律顧問／李友琦 少年金釵男孟母
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製作公司／潑墨數位出版行銷有限公司 發行日期／2013年12月 初版 指導單位／
本數位出版品之製作出版，接受文化部「公有文化創意素材加
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用」計畫補助。 定價220元 版權所有，翻印必究。 本書若有任何缺誤，請與我們聯繫。 e-ISBN/978-986-040-256-8(ePub)
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Published by The Performance Center at National Central University Publisher in Chief/Dr. Jing-yang Jou Address/No. 300, Jhongda Rd., Jhongli City, Taoyuan County 32001, Taiwan (R.O.C.) Phone/+886-3-426-4805 Fax/+886-3-426-4805 Email/theatre@ncu.edu.tw Author/Katherine Hui-ling Chou Producer/Creative Society Editor in Chief/Katherine Hui-ling Chou Executive Editor/Yi-hsiu Lee Executive Editor/Jae Zan Assistant Editor/Chia-ling Tsai 少年金釵男孟母
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Playwright/Katherine Hui-ling Chou Translator/Wei-ming Liu, Jen-hao Walter Hsu Proofreader/Frank Episale Legal Consultant/Yo-chi Li Digital Production/Puomo Digital Publishing & Marketing, LLC. Publication Date/December 2013, first edition The production and publication of this digital publication is sponsored by the Ministry of Culture’s Publich Creative and Cultural Material Value-added Application project. Suggested Retail Price/NT$220 © Copyright Performance Center at National Central University, 2013. All rights reserved. Please contact us for any mistakes or missing content in the book. e-ISBN/978-986-040-256-8(ePub)
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