有正式組織及成員的臺灣同志運動（Gay Rights Movement)於過去兩、三年中興 起，而且進入公領域進行多次遊行及抗議活動。自一開始，參與運動的同志究竟可不可 以、應不應該要「現身」，便是其論述及策略的焦點。而一致性地解決方式，便是戴上面 具。 本文分爲三個部分。首先對性別認同的眞實性及虛幻性，及其與身體展演（bodily performance)的能動性（agency)進行分析與批判。其次分析臺灣同志運動集體認同 的形成機制。最後，討論爲何藉由戴面具而生的集體認同常造成參與者的不安、甚且反 認同，以申論集體認同之儀式性活動的現象學基礎。 本硏究之田野資料於1996年11月至1997年5月間捜集，被訪者一共22位，均爲 直接或間接的同志運動成員，年齡分布爲十九歲至三十六歲。由於臺灣同志運動的前身 爲大學校園運動（特別在北部）及婦運，被訪者的社經學歷，亦反映了這個特性。

Taiwan’s Gay Rights Movement was first founded during the mid-nineties in direct response to re-constituting the public space as directed by the Taipei City Government. Since its outset, the core members of the movement have conceptualized the public space, where they negotiate with the state apparatus through sex-gender bodily performance, a phantasmatic space visualized by the mass media and the media-like state power. In order “not to be voyeurized by the media,” representatives of the movement urged participants to put on masks in protest. In this paper I analyze the means by which collective identities are constructed (or de-constructed) via such a form of bodily performance. I argue that, without a certain sensory medium such as a recognizable face, the subject of the movement will find entering into the afore-mentioned phantasmatic space highly unnerving. The ways in which the subject problematizes collective identity highlight also the efficacy of identity-formation rituals as derived from literalization of critical bodily symbols. In the case of Taiwan’s Gay Rights Movement，one of such symbols is no more than the face which is ordered to be covered up.