Abstract

In 1981, the Spanish playwright Luis Riaza published the play Medea es un buen chico (Medea is a Good Boy). In it, two male actors perform the main roles of Medea and the Nurse, who comment, with references to other fictional love stories, on the relationship between Medea and Jason. When Jason fails to arrive, the fiction is dismantled, revealing Medea’s identity as Jason’s rejected homosexual lover. Medea es un buen chico mixes elements of performativity, meta-theatricality, and myth in order to explore the limits of gender, sexuality, and the perceived social roles and norms they entail. This article explores how Riaza theatrically reflects on the social performativity of gender through the tragic character and story of Medea, her performance and subversion of her own gendered self, and her eventual rejection and social displacement.

中文翻译：

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美狄亚是个好男孩：表演，颠覆和揭露悲惨的性别

摘要

1981年，西班牙剧作家路易斯·里亚扎（Luis Riaza）发行了戏剧《美狄亚·埃·本·布恩·奇科》（美狄亚是个好男孩）。在其中，两名男性演员扮演美狄亚和护士的主要角色，并参考其他虚构的爱情故事对美狄亚与杰森之间的关系发表评论。当杰森（Jason）无法到达时，小说便被拆除，揭露了美狄亚（Medea）作为杰森（Jason）被拒绝的同性恋恋人的身份。Medea es un buen chico结合了表演，元戏剧性和神话元素，以探索性别，性行为的局限性，以及由此引发的可感知的社会角色和规范。本文探讨了里亚扎（Riaza）如何通过美狄亚（Medea）的悲剧性格和故事，她对自己的性别自我的表现和颠覆以及最终的拒绝和社会流离失所，戏剧性地反思性别的社会表现。