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Drama KingsPlayers and Publics in the Re-creation of Peking Opera, 1870-1937$
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Joshua Goldstein

Print publication date: 2007

Print ISBN-13: 9780520247529

Published to California Scholarship Online: March 2012

DOI: 10.1525/california/9780520247529.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 27 September 2021

The Gendering of National Culture, Or, The Only Good Woman is a Man

The Gendering of National Culture, Or, The Only Good Woman is a Man

Chapter:
(p.237) Chapter 7 The Gendering of National Culture, Or, The Only Good Woman is a Man
Source:
Drama Kings
Author(s):

Joshua Goldstein

Publisher:
University of California Press
DOI:10.1525/california/9780520247529.003.0008

This chapter discusses the changing terrain of gender performance and homo- and heterosexuality within the theater, describing the rise of a new form of female role known as the huashan (flower gown/garment). If women were becoming increasingly influential in urban theaters, both as actresses and audience, why was the Peking opera stage overwhelmingly dominated by male dan actors? Borrowing in part from the works of Judith Butler, Eve Sedgwick, and Faye Dudden, this chapter explores the ramifications of the representational practices of enframing for constructions of sex and gender, arguing that this regime of representation clearly had uneven effects on the public perception and reception of male and female actors.

Keywords:   homosexuality acting, gender performance, Peking opera, male dan actors, huashan, Judith Butler, Eve Sedgwick

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