Chinese Opera F R O M R O L E T Y P E S T O C R O S S - D R E S S I N G

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Aesthetic Features of Traditional Chinese Theatre Many different regional theatre exist in China and Taiwan. All of them share basic aesthetic features. Three basic principles: synthesis, convention, and stylization (Elizabeth Wichmann) Song, music, dance and pantomime, acting of story/plot, and speech/dialogue are all present in Chinese theatre; acrobatics is included as well. The total synthesis of these elements, governed by century-old rules of convention, in a stylized form distinctly different from reality, is what makes Chinese theatre unique to the Western world.

Role Types Chinese theatre has adopted role types since its formative stage in Tang Dynasty (618-907) The division and coverage of role types have gone through many changes, with different names and titles. Today, for Beijing Opera, the most prominent form of Chinese theatre, there are four major role types: Sheng (Male), Dan (Female), Jing (Painted Face), and Chou (Clown)

Sheng (Male) Old Male

Sheng (Male) Young Male

Dan (Female)

Dan (Female) Old Female

Dan and Sheng

Jing (Painted Face)

Chou (Clown)

The Moral and Social basis of Role Types Each role type is further divided into subdivisions. All division and subdivision of role types are based on clear definition and differentiation in age, gender, profession, class, social status, and personality. Personal traits and individual characteristics are intersected with social and political categories, reflecting the collective values of a Confucian world. Such categorization of characters corresponds with Aristotle s definition of character in Poetics, suggesting a shared and universal belief in moral functions of drama and theatre in the ancient world.

Role Types as Foundation of Stylization The role types in Chinese theatre dictate every element of stylization, from movement, physical gestures, vocal quality, singing style, to every detail of costume and makeup. The complex composition of a character s performance in Chinese theatre, as dictated by its role type, would make the character a representative of a larger group -- a sign or symbol of a socially defined and codified identity. It is with such an artificial composition of character that Chinese theatre lends itself easily to cross-dressing.

Cross-Dressing in Chinese Theatre: Women Playing Men Yuan Dynasty (1271-1368), the historical period when Chinese theatre matured and blossomed, female players dominated stage, often cross-dressing to play male roles. In Ming (1368-1644) and Qing (1644-1911) Dynasties, private troupes maintained by gentry were predominantly female theatres with women playing all major parts, both male and female.

Cross-Dressing in Chinese Theatre: Men Playing Women During the mid- to the late Qing Dynasty, public theatre began to be monopolized by male actors, who played both male and female parts. During this period the attractive, cross-gendered actors on stage became the object of desire. When Beijing opera reached its golden age during 1920s and 30s, the sexually ambiguous figure of male dan became a cultural obsession.

Mei Lanfang (1894-1961): The Quintessential Male Dan

Mei Lanfang (1894-1961)

Mei Lanfang on Stage

Mei Lanfang

Mei Lanfang as Hua Mulan (1917)

Hu Wenge (1967-): A Modern Male Dan He is the disciple of Mei Lanfang s son Mei Baojiu (1934-2016), who was himself a famous male dan. Hu Wenge in costume: https://www.youtube.com/watch?v=34aennzmah8 Hu Wenge demonstrating in everyday wear: https://www.youtube.com/watch?v=4sendfwbykg

Male Dan vs. Female Sheng Since 1949, the dominance of male dan on Chinese stage has become a thing of the past. In both China and Taiwan today, actors train and perform in the role types of their own gender. Crossdressing and gender-bending still happens, but it is more a choice based on artistic qualities. There are quite a few accomplished female shengs in Chinese theatre today. In some of the southern regional theatres, the ancient tradition of all-female troupes still prevails.

Wang Peiyu: Female Sheng

Yue Opera (Popular in Shanghai): All-Female Troupe

Some Conclusive Thoughts Cross-dressing and gender-bending is an ever-present and dominant feature of traditional Chinese performing arts. As the form and idea of gender-bending has been such a big part of popular culture, the story of cross-dressing and gender-bending naturally grew out of such familiarity into widespread cultural acceptance. The content and form of popular entertainment are mutually influential. Traditional Chinese society is highly stratified and codified based on Confucianism, common people s everyday life could be compared to performing a part, completed with proper attire and assigned responsibilities. The attire is a codifying marker of gender and status. The story of Mulan, dramatizing women s superiority over men, is definitely one of protest and defiance against patriarchy, which accounts for its continuing attraction and popularity over centuries.