《踏青去》歷經十年，於2015年復刻搬演，無論在戲劇文本、藝術美學、行 銷策略及社會批判上，皆銘刻台灣性別議題的繁複推演過程。本文結合現象學、 心理學、當代酷兒理論及在地性別議題，聚焦於本劇發展脈絡、敘事結構與劇場 手法三種面向，並提出「酷兒感官書寫」的概念。酷兒主體得以藉由拼貼的諧 擬、多層次的挪用、高張的視聽感官與流動的慾望投射，擾亂父權異性戀、理體 中心主義式的語義邏輯與正典詮釋。本文首先自歷史脈絡扼要耙梳台灣當代酷兒 劇場，從中分析《踏青去》自2004年以來之發展脈絡，為之定位；其次詳析本 劇編劇策略上的三層性別運作，並援引Slavoj方知k之驅力心理學，以聚焦其梁 祝挪用中的酷兒歸返；再則拓展Sara Ahmed之酷兒現象學概念，探究本劇實際 演出所形構之感官書寫美學；結論縱觀本劇所指涉之當代性別策略意義，並提示 未來可能之探問方向。

A decade after ts prem ere, Skin Touching, a Ta wanese lesb an play, was rev ved for the stage n 0 5. Th s product on, through ts dramat c text, theatr cal aesthet cs, market ng strateg es, and soc al cr t que, teased out the complex evolut on of local gender ssues. Work ng at the ntersect on of phenomenology, psychology, queer theory, and domest c gender analys s, th s paper exam nes the narrat on and the stag ng of Skin Touching, wh ch mob l zes the cr t cal framework of queer sensory wr t ng. The f rst sect on art culates the h stor cal context of contemporary queer theater n Ta wan w th a spec al focus on the or g nal development of Skin Touching n 00 ; the second sect on employs Ž žek’s psychoanalyt c model to nvest gate the layered drag operat ons des gned nto the theatr cal strategy of the scr pt; the th rd sect on extends Ahmed’s queer phenomenology to underscore the hyper-sensual ty of stage presentat on.