Historical, Philosophical, Political and Law Sciences, Culturology and Study of Art. Issues of Theory and Practice. Tambov: Gramota, 2010. № 1. P. 146-149.
Sarakayeva Elena Alievna
Astrahan State University Department of English Language of Public Relations Faculty and of Law Faculty
Abstract. In the article feminity created and popularized by Chinese opera is considered. Opera was created by playwrights and actors for male audience that is why the generated image of an ideal woman reflected unreal but desirable feminity for men.
Key words and phrases: гендерная философия, конструкция феминности, кросс-гендерное исполнение, пекинская опера, амплуа "дань", gender philosophy, feminity construction, cross-gender performance, Beijing opera, dramatic type "Dan"
Open the whole article in PDF format. Free PDF-files viewer can be downloaded here.
References:
Gan' Bao. Zapiski o poiskakh dukhov. SPb.: Azbuka-klassika, 2006. 384 s.
Bawang bieji. Shanghai: Shanghai wenyi chubanshe, 1987. 56 p.
Hwang D. H. M. Butterfly. N.Y.: Plume, 1989. 234 p.
Kwok Wah Lau J. Farewell my concubine: history, melodrama, and ideology in contemporary Pan-Chinese cinema // Film quarterly. 1995. № 1 (Autumn). Vol. 49.
Tian M. Alienation-effect for whom? Brecht's (mis)interpretation of the classical Chinese theatre // Asian theatre journal. 1997. № 2 (Fall). Vol. 14.
Tian M. Male Dan: the paradox of sex, acting and perception of female impersonation in traditional Chinese theatre // Ibidem. 2000. № 1 (Spring). Vol. 17.
Wang Guowei. Xiqu lunwen ji. Beijing: Zhongguo xiqu chubanshe, 1984. 220 p.
Xu Chengbei. Mei Lanfang yu ershi shiji. Beijing: Sanlian shudian, 1990. 280 p.