Abstract This study examines the social constructions of gender as the encapsulation of reiterated human conducts within varying sites of performance. Contrary to the notion that gender roles are fixed by socio-cultural forces, this paper focuses on the fluidity of human dispositions in differing circumstances. Adopting Judith Butler’s theory of gender performativity, the researcher analyses Tess Onwueme’s Then She Said It. This protest play attests to the variability of gender performance. The characters in the drama, especially the protagonists and antagonists, exhibit considerable alterations in gender performance in different situations. Thus, the study argues that the rigid classification of gender roles along sex lines (on both biological and gendered sexuality) in protest drama in Nigeria is incongruous with the characters’ dispositions in the plays. Indeed, characters adopt cross-gendered performances as a strategy of protesting against overbearing conditions.

中文翻译：

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苔丝·昂维姆（Tess Onwueme）的《然后她说》中的性别表现，流动身份和抗议

摘要这项研究考察了性别的社会建构，即在不同的表演场所对重复的人类行为的封装。与性别角色是由社会文化力量决定的观点相反，本文着重研究了在不同情况下人类倾向的流动性。研究人员采用朱迪思·巴特勒（Judith Butler）的性别表现力理论，分析了苔丝·昂维姆（Tess Onwueme）的《然后说它》。这场抗议活动证明了性别表现的可变性。戏剧中的人物，尤其是主角和对手，在不同情况下的性别表现都发生了很大的变化。从而，该研究认为，尼日利亚抗议剧中沿性别界线对性别角色的严格分类（在生物学上和性别上都包括性别）与剧中人物的性格不一致。确实，角色采用跨性别的表演作为抗议霸道状况的策略。