本文旨在透過厄文‧高夫曼（Erving Goffman）的社會學架構，重新審視亞瑟．溫．皮內羅（Arthur Wing Pinero）的劇作《第二位泰奎爾夫人》（The Second Mrs. Tanqueray），特別是 將其「擬劇論」（dramaturgy）中關於「印象管理」（impression management）的分析，與其「污名理論」（stigma theory）進行對話。傳統文學研究常聚焦於寶拉．泰奎爾（Paula Tanqueray）的心理不穩定或是受制於過去而導致的悲劇必然，但本文主張，她的自殺可視為是「展演系統」失靈後的終極後果。如果把家庭場域看成是一個舞台，這個舞台的後台已被轉化為監視場所。我展示了寶拉為「遮掩」（covering）其污名化身分所做的種種努力。然而，終究受制於本應支持其展演的人們，而致徒勞無功。本文認為，皮內羅的劇作是對規範性系統的強烈控訴—該系統要求被污名者努力以維護體面的表象，卻在形勢上已然無法掩蓋此認知中的「污點」時，抵消這一切的努力。透過高夫曼的分析視角，我闡明了這齣戲劇的災難不僅僅是個人悲劇，而是在夥伴們化身為評判者的凝視下，正常的社會展演已成了內建的不可能，而結構性的崩解其實為必然結果。

This article re-examines Arthur Wing Pinero’s The Second Mrs. Tanqueray through the lens of Erving Goffman’s sociological framework, specifically placing his dramaturgical analysis of impression management into dialogue with his theory of stigma. While traditional readings of the play often focus on Paula Tanqueray’s psychological instability or the tragic inevitability of her past, this paper argues that her suicide is the terminal consequence of a failed performative system. By analyzing the domestic sphere as a stage where the "backstage" has been repurposed into a site of surveillance, I demonstrate how Paula’s efforts to "cover" her stigmatized identity are rendered futile by the very individuals mandated to support her performance. Ultimately, this article maintains that Pinero’s drama functions as an indictment of a normative system that demands the labor of the stigmatized to maintain a respectable facade, only to dismantle that same labor when it no longer suffices to conceal the perceived taint. Through this Goffmanian approach, I illustrate that the play’s catastrophe is not merely a personal tragedy but a structural collapse necessitated by the inherent impossibility of performing "normalcy" under the gaze of judges disguised as partners.