This article examines two recent queer adaptations of Romeo and Juliet in Seoul, attending to their opposite receptions in relation to the gap between queer theory and gay reality. It focuses on LAS's Juliet and Juliet, hailed as ‘female queer theatre’ despite being conservative gay, while discussing briefly in comparison Yohangza's Romeo and Juliet, decried as ‘anti-queer’ for all its queerness. Although the dream of a happy married life in Juliet and Juliet appears similar to the much-critiqued homonormativity, I defend it as a ‘gay utopian fantasy’ rooted in the predicament of Korean queers under the ideology of familism. Questioning the adequacy of Western-centric queer theory to explain Korean gay reality, I call for the need to develop alternative concepts and positive vocabularies to give voice to the lived experience and aspiration of sexual minorities in countries like Korea, for whom the post-gay era has not yet arrived.

本文考察了首尔最近对罗密欧与朱丽叶的两部酷儿改编，关注他们对酷儿理论与同性恋现实之间差距的相反看法。它专注于 LAS 的朱丽叶与朱丽叶，尽管是保守的同性恋，但被誉为“女性酷儿剧院”，同时简要讨论了 Yohangza 的罗密欧与朱丽叶，因其酷儿性而被谴责为“反酷儿”。虽然朱丽叶和朱丽叶的幸福婚姻生活的梦想看起来与备受批评的同性恋相似，我将其辩护为“同性恋乌托邦幻想”，根植于韩国酷儿在家庭主义意识形态下的困境。质疑以西方为中心的酷儿理论解释韩国同性恋现实的充分性，我呼吁需要发展替代概念和积极的词汇来表达韩国等国家性少数群体的生活经历和愿望，对他们来说，后同性恋时代还没有到来。