臺灣酷兒劇場迄今發展紛呈，不僅持續針砭體制，亦參與社會改革與營造活動。然本土殖民歷史與政治現狀，致使酷兒劇場的批判性受到牽制，使得創作動機與呈現結果產生誤差。此誤差實則反映作品創作脈絡的實際條件限制，甚至體現其所欲批判對象的運作模型。本文以臺南人劇團2015年之《姊夠甜．那吸》為案例，自排練草稿著手，分析其所形構之戲劇圖式，以及創作動機與呈現結果之間誤差所指涉之文化意義。本劇改編自美國劇團「開襠褲」之《美麗緩刑》（Belle Reprieve），意圖以諧擬與混種技法，建構具在地特色之酷兒戰術，然而由於市場體制考量，最終呈現結果有其窒礙之處。此種誤差作為整體製作的妥協量度，實則是酷兒劇場與其批判對象之間交戰的重要徵兆。

Taiwan contemporary theater has developed diversely, critiquing the power structure and participating social revolutions from aspects of race, gender, governance and class. However, the complex colonial history and the sensitive political status quo of the island have resulted in the impasses of the criticalness of the theater and thus the divergence between manifesto and presentation. The divergence, which mirrors the physical conditions of the cultural context, in fact often embodies the normative apparatus that the theater targets against. This project takes Tainaner Ensemble’s Belle Reprieve (2015) as example, probing into the rehearsing sketches and analyzing what this project calls as “theatrical schema” that the productions have fashioned. Adapted from Split Britches’ Belle Reprieve, Tainaner Ensemble’s version aims to construct a set of queer tactics through parody and hybridity techniques. That being said, due to factors of marketing and politics, the final presentation of the work shows significant divergence from their rehearsing sketches. As an innovative critical framework of theater studies, “theatrical schema” works to highlight the divergence of theater production, which pointing to the acute battles between contemporary theater and its critiquing target.