📚 Transitional Shakespeare, Gender, and Adaptation（跨性別的莎劇與改編），Alexa Alice Joubin（黃詩芸）著，Cambridge University Press 出版。

跨性別角色是莎士比亞戲劇中的經典元素，而戲劇本身則是一門過渡性與跨界的藝術。性別透過演員的詮釋得以具象化並被賦予生命。同樣地，改編作品也具有過渡性與跨界的運作模式。有些改編將原劇轉化為更具包容性的表達形式；其他的改編則顛覆既定的文類與性別。

《跨性別的莎劇與改編》從多個角度闡述「跨性」理論，包括戲劇中角色與演員表演交匯而生的複合形象；文化翻譯；電影中描繪劇場創作的情節；以及戲劇作為「組裝」的過程。本書針對多部電影進行細讀，例如英國片《舞台美人》（2004）、台灣全女班酷兒電影《揭大歡喜》（陳宏一/魏瑛娟，2001）、韓國片《王的男人》（2005）、美國浪漫喜劇《足球尤物》（2006）以及榮獲7項奧斯卡金像獎的《莎翁情史》（1998）。

本書主張：跨性研究本質上是一種社會關懷的實踐。這種關懷工作 (care work) 能夠重塑觀眾、演員與角色之間的關係。本研究將「跨性別」作為方法論，用以檢視文學與社會過程如何產出邊緣人，而非僅僅分析這些人物的不幸。本書進一步揭示「跨性別性」(transness) 如何顛覆僵硬的二元常規，從而使觀眾得以翻轉自身根深蒂固的預設立場或認知框架。 The cross-gender role is a staple of Shakespeare’s plays, and drama is a transitional art. Gender is made flesh and brought into being by actors’ embodiment. Similarly, adaptations also operate transitionally. Some adaptations translate narratives into hospitable forms of expression. Other adaptations function as minor uses of established genres and gender categories.

This new book theorizes “transness” in a number of modes, including composite figures in drama that arise from the convergence of a character, their curated self-image, and actors’ performance; cultural translation; stagecraft onscreen; and drama as processes of social assemblage. Professor Joubin close-reads a number of films, such as Stage Beauty (2004), As We Like It (Taiwan, 2001), The King and the Clown (2005), She’s the Man (2006), and Shakespeare in Love (1998).

Trans-informed criticism is a care practice that amplifies the sociality of gender. Care work can reshape the relationships among audiences, actors, and characters. The study uses trans as method to examine literary and social processes that produce marginalized characters rather than simply to analyze those characters as a predetermined subject. Creating a new kinship and arrangement of knowledge, this book demonstrates how transness estranges social norms themselves.