女丑＝女醜？幽默的性別權力─以綜藝節目諧星表演為例

Abstract

女諧星作為一種近十年來在綜藝節目中大放異彩的族群，博取許多媒體版面，但幽默領域並非中立無菌的，幽默場域即為一百家爭鳴的意識形態鬥爭場，性別權力在此以一種歡樂無害的形式被表現出來，實則蘊含多重性別迷思與性別不平等。本研究的問題意識是綜藝節目中男諧星與女諧星的性別差異何在，以及這些差異背後反映了何種意識形態，最後女諧星是否有可能運用幽默的模糊性與兩面性挑戰性別刻板印象與父權意識形態。 本研究以內容分析法分析【全民最大黨】與【康熙來了】兩個綜藝節目，研究男、女諧星在表演方式、角色形象、角色屬性、笑聲創造比例與演出比例的差異；文本分析法以內容分析法的結果為基礎，輔以其他報章雜誌、電視節目與【全民大笑花】等其它文本，解析諧星領域中性別差異背後的意識形態何在，以及男、女諧星的能動性。 研究結果發現，在表演方式方面，女諧星較傾向使用自嘲、身體感官成分多的表演，在短劇表演中，女諧星使用性感創造笑點的比例遠高於男諧星，而男諧星較傾向使用奚落、言語成分較多的表演，在短劇表演中，男諧星使用反串與性騷擾創造笑點的比例遠高於男諧星。在角色形象方面，女諧星在短劇節目中形象較傾向刻板女性形象，但在談話性節目中形象較為中性，展現出同等份量的男性與女性特質，而男諧星的形象無論在短劇節目或談話性節目中都較傾向於表現男性刻板印象。在短劇角色屬性方面，男性較常飾演公領域角色和主角，女性較常飾演私領域角色和配角。無論在哪個節目中，男諧星創造的笑聲比例都遠大於女諧星。 這些差異反映了男主女從、男主外，女主內、男性特質是正統與優越，而女行特質較偏異與瑣碎的迷思，而好笑的女諧星還必須被汙名化再現為醜女和沒有異性緣的女人。根據女諧星的貌美程度與好笑程度可以將主流綜藝女諧星分成四類：潑婦�花癡、小媳婦、傻妞與天真尤物，越好笑的女人被汙名化的程度、侵略性與能動性越高，反之亦然。 女諧星的能動性策略可能有三個：鬆動權力關係、體制內的反叛與挑戰性別刻板印象，但若要顛覆父權體系，就現階段而言還無法一蹴可幾。國內的綜藝節目素質整體而言也有待提升，亟需更多具有批判性與反思意識的演藝人員與更多元自由的舞台。

Female comedians have become a sought-after group to participate in variety shows in recent years; however, the field of comedy can never be neutral nor does it exist in isolation from gender. On the contrary, humor discourse is like a battlefield of various stereotypes, and gender stereotypes are no exception. The central problem of this research is divided in two parts: media representation and ideological interpretation. This study attempts to determine the difference between male and female comedians in Taiwanese variety shows in various aspects, for example, performance style, a performer’s image, character traits, laughter-creating ratio and performance chance percentage. Also, with humor discourse’s ambiguity and duality, is it possible for female comedians to challenge gender stereotypes and patriarchal stereotypes through a funny routine on TV? To answer the research questions, content analysis and textual analysis are jointly conducted in this study. Firstly, the talk show “Kang Xi Lai Le” and the sitcom show “The Largest Party of People” are adopted as the subject of content analysis. Secondly, based upon the result of content analysis along with other media reports and TV shows, textual analysis will continue to explore the ideology and myth behind the gender inequality in TV comedian field, and then discover the difficulties and mobility factors of female comedians. The result of the content analysis is broken down into two sections—performance style and performer image. The finding of performance style shows that while males tend to use more other-disparaging humor, females tend to use more self-deprecating humor; besides, a male comedian’s comedy routine contains more rational and rhetorical factors, whereas a female comedian’s funny routine contains more sensory and bodily factors. In sitcoms, cross-gender acting and sexual harassment of women has become part of a male’s “funny” performance, yet exposing the sexual body become part of female’s too. Regarding character image, there are three major differences: (1).Male comedians are inclined to show more male stereotypes, such as confidence and dominance in contrast, female comedians are inclined to show more female stereotypes, such as passivity and obedience. (2). Male act as more public figure, such as politicians or famous experts while female act more non-public figure, such as characters without fame or a specific name, for example, teachers or waitresses. (3).Males are usually the leading role while females are in the subordinate role. No matter the TV show, male comedians create much more laughter than female comedian do. These differences reflect the ideology and social expectation of gender roles, namely, masculinity is superior to femininity and femininity is subordinate to masculinity. In addition, funny female comedians have to be misrepresented as ugly and unpopular women in variety shows and their appearances become an obstacle to performing in more various way as man do. There seems to be a beauty/funny dilemma, polarizing women into two funny-but-ugly and beautiful-but-unfunny categories. However, by displaying a nontraditional female image on TV, it is possible for female comedians to challenge deeply-rooted gender stereotypes. Female comedians also contribute to occupying humor field step by step, an area that has been long belonged to men only. But due to the patriarchy being entwined with the television production industry so closely, it is too early to say if female comedian can change gender inequality in the field of comedy immediately.