TRANSGRESSING THE STAGE: FEMALE XIQU PERFORMERS AT THE TURN OF THE TWENTIETH CENTURY
| dc.contributor.advisor | Chan, Roy | |
| dc.contributor.author | Deng, Xiaoyan | |
| dc.date.accessioned | 2024-08-07T23:01:57Z | |
| dc.date.issued | 2024-08-07 | |
| dc.description.abstract | This dissertation explores a previously overlooked aspect of xiqu history - the role of female xiqu performers in fin-de-siècle China. Focusing on the transitional period between the late Qing and the early Republican era (1870-1937), it argues that female xiqu actors were not merely marginal figures but played a crucial role in shaping the stagecraft and culture of xiqu, on par with their male counterparts. The study begins by examining the performances of female xiqu actors in foreign concessions in Shanghai and Tianjin during the late-Qing period. It highlights how these performers demonstrated their exceptional stagecraft, which was comparable to that of the top male performers of the time. This challenges the notion that female performers were inferior in the xiqu tradition. Moving on to the 1910s in Beijing, the dissertation explores the significant contributions of female players like Liu Xikui and Xian Lingzhi. These performers challenged the traditional sheng players of the previous generation, showcasing their talent and pushing the boundaries of gender norms within xiqu. The study then delves into the 1920s, a period when female players such as Zhang Wenyan, alongside nandan stars, formed the first star culture in modern China. This highlights the importance of female performers in shaping the entertainment industry and popular culture of the time. Contrary to popular belief, the dissertation argues that the triumph of Republican nandan stars over their female counterparts was not solely due to the male players’ alleged artistic superiority. Instead, it suggests that various forms of social prejudice against women placed the female actors at a disadvantage in their competition with male players. This sheds light on the complex dynamics of gender and power within the xiqu tradition. Overall, this dissertation aims to rectify the neglect of female xiqu performers in the study of xiqu history. By highlighting their significant contributions and challenging traditional gender roles, it seeks to provide a more comprehensive understanding of the role of women in shaping the stagecraft and culture of xiqu during the Qing-Republic transition. | en_US |
| dc.description.embargo | 2026-07-23 | |
| dc.identifier.uri | https://hdl.handle.net/1794/29858 | |
| dc.language.iso | en_US | |
| dc.publisher | University of Oregon | |
| dc.rights | All Rights Reserved. | |
| dc.subject | Cross-dressing | en_US |
| dc.subject | Female Actors | en_US |
| dc.subject | Theatre Historiography | en_US |
| dc.subject | Traditional Chinese Theatre | en_US |
| dc.title | TRANSGRESSING THE STAGE: FEMALE XIQU PERFORMERS AT THE TURN OF THE TWENTIETH CENTURY | |
| dc.type | Electronic Thesis or Dissertation | |
| thesis.degree.discipline | Department of East Asian Languages and Literatures | |
| thesis.degree.grantor | University of Oregon | |
| thesis.degree.level | doctoral | |
| thesis.degree.name | Ph.D. |