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凯萝·邱吉尔的剧作《九重天》运用换装手法充分展示在霸权话语的支配与压迫下所有“他者”所遭受的肉体与心灵的苦难,揭示资本主义社会种族、性别等方面的政治压迫,进而将批判的矛头对准了一切霸权。男扮女装解构了对女性造成压迫的男性中心话语的模式;白扮黑装颠覆了压迫黑人的种族二元论殖民话语图式;女扮男装拆解了帝国阳性气质话语,指出对帝国阳性气质的强求将压迫转向了白人男性自身。换装手法产生间离效果,引发观众思考,深刻认识英国当代文化留有殖民时代霸权话语的逻辑烙印。
Carer Churchill’s play “Nine-days” using dress up to fully demonstrate the supremacy of oppression and domination under the pressure of all the “others” suffered by the suffering of the body and soul to reveal the capitalist society race, gender and so on Political oppression, and then put the blame on the criticism of all hegemony. The disguise of men disguises the male-dominated discourse that oppresses women; the disguise of white disguises the black-and-white ethnic dualism of colonial discourse; the disguise of men disassembles the imperial positive temperament, The oppression turned to the white male himself. Dress-up techniques produce a separation effect, triggering the audience thinking, a profound understanding of British contemporary culture left a logical imprint of hegemony discourse colonial times.