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Sexual Artifice Through “Transgression”: The Revival of Cross-Gender Performance in Jingju

机译：通过“犯罪”的性技巧：京剧跨性别表演的复兴

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摘要

This study is about—and beyond—the unprecedented revival of cross-gender performance in theatre, especially the male-to-female cross-gender performance of jingju (Beijing Opera), known as nandan. Through years long pre-investigations of the scene, archival work of its history, and case studies of individuals, this project examines the specificity and universality of the (in)coherences between sense of gender, sexuality, gender identities, gender mannerisms, transgressive desires and cross-gender performance behind the advocate of “historical authenticity” and “the return to the social and cultural norm.” Over twenty informants have contributed to the research with their narratives and observations in the scene. The project ends up with the observation that the transgressive potential of performing out of one’s biological sex is peculiar not only to one individual or one theatrical form, but to humankind in general. The conclusions drawn from the qualitative analysis may subvert some of the prevailing epistemologies of gender and sex. Firstly, there is no singular gendered subject. Gender discourse only exists in a “signifier-and-signified” relation to the subject’s perception of other gendered bodies. Secondly, it is not precise to claim that gender is socially or culturally constructed. Gender is reconstructed or amplified out of its ontological attributes based on biological differences, whose existence should be acknowledged. Reiteration does not precisely “do” gender, but may affect it to some extent, as there is a core sense of gendered self, albeit unsettled oftentimes, which is “inalienable” and “inseperatable.” Thirdly, gender may be performable, as in jingju, while gender performance and gender performativity are interchangeable only when they are not placed in a context to discuss their association with identity. In this sense, incoherence does not only exist between gender, sexuality and desires, but also between gender identities, gender mannerisms and gender behaviours. It may be concluded that gender transgression should not be understood on its own terms, but in a context of all social and cultural regulation and institutionalization that regard the interchangeability of signifiers of maleness and of femaleness as a threat to mainstream perception.
机译：这项研究的目的是（甚至超越）剧院中跨性别表演的空前复苏，尤其是京剧（南剧）的男女跨性别表演。通过对场景的长期调查，其历史的档案工作以及对个人的案例研究，该项目研究了性别意识，性别，性别认同，性别举止，过犯的欲望之间的一致性的特殊性和普遍性。倡导“历史真实性”和“回归社会和文化规范”的跨性别表现。二十多位线人通过他们的叙述和现场观察为研究做出了贡献。该项目最终得出的结论是，从生物性别上进行表演的潜在超越性不仅对一个人或一种戏剧形式而言，而且对整个人类而言都是独特的。定性分析得出的结论可能会颠覆一些流行的性别和性别认识论。首先，没有单一的性别主题。性别话语只存在于对象对其他性别主体的感知的“表示和表示”关系中。其次，声称性别是社会或文化构造的说法并不精确。性别是根据生物学差异从其本体属性中重建或放大的，应该承认性别的存在。重申并不能精确地“做”性别，但是可能会在一定程度上影响性别，因为存在着一种性别自我的核心意识，尽管它常常不安，这是“不可分割的”和“不可分割的”。第三，性别是可以执行的，就像在《晋州》中一样，而性别表现和性别表现只有在不将其置于上下文中讨论其与身份的关联时才可以互换。从这个意义上说，不一致性不仅存在于性别，性与欲望之间，而且存在于性别认同，性别举止和性别行为之间。可以得出结论，不应该以其本身的术语来理解性别违法行为，而应在所有社会和文化法规和制度化的背景下，将男性和女性指称者的互换性视为对主流观念的威胁。

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    Bao Huai;

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