跨性别表演在消费社会遭遇的反讽——以青年“视觉系”文化为例

The Performative Body Encountering with Trans-gender Irony in a Consumer Society——Taking “Visual Kei” as an Example

20世纪70年代兴盛于英美的华丽摇滚及其带动的变装表演,既成为女性主义及跨性别理论的分析战场,也让时尚界看到了商机:摇滚乐手们任意挪用夸张的"视觉系"符号,使身体成为追求跨性别认同的表演;然而他们刻意追求的戏剧性和舞台感,又不自觉地拉开了与观众的距离,淡化了其激进革命的力量。当这场身体表演变得流行化与审美化之后,时尚消费文化的介入,对原本反讽式的跨性别表演加以再次反讽,使性别革命变得模棱两可。传入日本成为视觉系摇滚,传入中国转变成"杀马特""非主流"群体后,其中的革命性完全被商业化消费所取代,跨性别身体表演最后反而强化了"菲勒斯中心主义"性别二元论。

Glam rock and the transvestite show, flourished in the 1970s, have been analyzed by feminism theories and transgender theories. Meanwhile,their business opportunities have drawn attention from the field of fashion. Rock musicians abuse the exaggerative symbols of “ visual kei”, making the body a performance that transcends gender identity. However, the drama and theatricality that they deliberately pursue, put a distance between themselves and the audience, and diluted the power of their radical revolution. When body performance became popular and aesthetic, the consumer culture of fashion got involved, satirizing the ironic transgender performance and making gender revolution ambiguous. As a result, gender revolution is completely replaced by commercial consumption, when it evolved into risual rock in Japan and “ shamate” or “ non-mainstream ” in China. Therefore, transgender body performance finally strengthened phallocentricism＇s gender dualism.