本文針對創作社劇團第18號作品《少年金釵男孟母》對於小說原著〈男孟母教合三遷〉的接受與繼承關係進行討論，試圖指出《少年金釵男孟母》編導者周慧玲如何擷取小說中複雜的敘事聲調作為改編之出發點，並且利用舞臺上時間與空間並置的劇場效果完成表演實踐。進一步更將觀察在其劇作中藉由舞臺表演所反映出來對於性別表演、劇場美學的容納與調度，檢視劇場觀眾、戲劇角色、舞臺演員三者之間的互動關係，進而瞭解《少年金釵男孟母》一劇如何展現現代社會對於同志的接受與窺視。最終則將透過對於劇中角色與演員之間反串、易服的扮演實踐之討論，挖掘出劇作中所反映有關家庭倫理概念的解構／建構過程，並且觀察此一劇作最終與小說原著之間的承繼關係。

This paper aims to discuss on "He is My Wife, He is My Mother", the 18(superscript th) work created by Creative Society Theater Company. This work adapts from Li Yu's "A Male Mencius's Mother Educated His Son and Moved Three Time s". The major purpose of this paper is to demonstrate how this drama to admit the narrative voice of the original novel, through replace the time and space to finish the performance. Furthermore, this paper also discuss how "He is My Wife, He is My Mother" to present the relationship of audiences, roles and players. In this way, this paper indicated the viewpoint of queers in modern society. Finally, this paper will demonstrate how the usage of cross-dressing and transgendered symbols reports the period of image of family to deconstruct and to reconstruct.