自十八世紀中葉以來，美國再現機制舞台前後的黃面孔角色扮演，不論是「貨真價實」的「黃皮膚、黃面具」，或是仿冒的「白皮膚、黃面具」，均投射了亞美族裔長期遭受政治社會打壓的種族去勢焦慮，象徵東方主義凝視下的商品價值，也被用以鞏固白人主體形構的疆界。 本文將把黃哲倫的兩齣劇作《枷鎖》和《黃面孔》的黃面孔角色扮演放在黃面孔歷史脈絡，探討黃面孔操演所涉及的再現機制和多重殖民與自我殖民的權力關係並析論：黃哲倫如何融合戲劇形式與自我指涉的個人經驗，戲耍操弄黃面孔兼具「黃禍」和「模範亞裔」的雙重弔詭，展演殖民者和被殖民者的受虐─施虐複雜心理機制；或是透過黃面孔嘲倣（mimicry）和偽裝（masquerade）來質疑族裔道地性（authenticity），嘲諷黃面孔所代表的商品邏輯，並且暴露族裔建構的模倣結構和族裔逾越的幻識理想（phantasmatic ideal）。本文亦將解析黃哲倫的黃面孔操演如何呈現了東方主義凝視透過國族主義、殖民主義，與資本主義的多重折射，把身體族裔化、性別化；以及黃哲倫如何藉由自我指涉／反思以及日常生活的微細事件，挪用族裔刻板形象，以揭露「東方主義」凝視和文化論述的內部矛盾和不穩定。

Since the mid-eighteenth century, “yellow face” in American representational apparatuses has been associated with Asian American’s anxiety of racial castration due to socio-political oppression, the commodity under Orientalistic gaze, as well as the constituent “outside” in consolidating white subjectivity. This paper will analyze David Henry Hwang’s Bondage and Yellow Face to investigate the performativity of yellow face in and out of American representational apparatuses along the axes of multiple colonization and self-colonization. Toying with the paradox of yellow face as both yellow peril and model minority, Hwang makes palpable the sado-masochist role play of the colonizers and the colonized in Bondage, or exposes the constructedness of ethnic authenticity and the phantasmatic ideal of Asian American identities in Yellow Face. Appropriating racial stereotype, Hwang exposes how the Orientalistic gaze fixes and fetishizes the racial bodies in the intersection of nationalism, colonialism and capitalism. Through the characters’ self-reflexive role play and masquerade, the performativity of yellow face in Hwang’s plays disrupts Orientalistic gaze and exposes the contradiction from within Orientalisms.