本研究希望透過田野民族誌釐清施洞苗族女性如何用剪紙上的戲曲與故事來進行反饋與自我建構的歷程。本文首先簡要概述剪紙與刺繡在施洞苗族服飾上的技術傳統與裝飾表現，再者從剪紙出發，從梁山伯與祝英台、螺螄姑娘、唐三藏降妖除魔、與務冒細的故事，來看剪紙上所呈現的女性形象。同時看這些女性形象如何透過戲曲展現「己」與「異己」的定位。最後，再從施洞的歷史處境，釐清戲曲對建構施洞女性自我定位的影響。期待能從施洞本土觀點出發，釐清當地人如何用自身的方式顯現人群的界線。藉由可滲透、多孔的界線，讓我們得以從人群關係的移動中，理解區域的歷史文化特性。在此呈現剪花能手與施洞女性之間，個人與集體觀點之間的差異。如何藉由以上文本衝突與交錯的狀態中，不斷地進行反饋與自我的建構。本研究釐清戲曲、故事與真實的社會生活，是有差異的。雖然本文的內容，主要取自戲劇與剪紙，論述者是站在女性的觀點，但值得進一步問的是祝英台是否是大多施洞女性嚮往的角色，而螺螄姑娘是否是施洞女人共同的謂歎。

This paper is an ethnographic study on paper stencils of Shidong Miao society in Southeastern Guizhou Province. It aims to describe how Miao women demonstrate self-reflective thinking and construct self-identity through theatrical and female figures on paper stencils images. This paper outlines cultural and gender identification as it is present in the paper stencil images. These paper stencils, on the one hand, illustrate cultural history and social memory. On the other hand, from the perspective of political and economic boundaries, the images reveal the shifting and fluid boundary between Shidong Miao and Han Chinese. 　　 This paper will present four aspects of paper stencil images from Shidong. First, I will briefly recount the history of stencil techniques and decorative expression on paper stencils and embroidery in the Shidong Miao tradition. Second, I will examine and analyze a number of Shidong Miao myths and stories, such as the Butterfly Lovers, Snail Girl, the Tang Priest’s Journey West and Wud Maox Xid, to provide an understanding of the Miao female images represented through paper stencils. Third, I will explore how paper stencils portray woman’s self-identity within their cultural and social boundaries. Last, by situating Shidong Miao society within its historical context, I will attempt to understand the impact stencils have on women’s self-identity through theatre.