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Casting Gender: A Critical History o...

Ammirati, Megan Elizabeth.

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Casting Gender: A Critical History of Women and Performance in China's Twentieth Century.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Casting Gender: A Critical History of Women and Performance in China's Twentieth Century./
作者:	Ammirati, Megan Elizabeth.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
面頁冊數:	359 p.
附註:	Source: Dissertation Abstracts International, Volume: 80-01(E), Section: A.
Contained By:	Dissertation Abstracts International80-01A(E).
標題:	Asian literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10825596
ISBN:	9780438290938

Casting Gender: A Critical History of Women and Performance in China's Twentieth Century.
Ammirati, Megan Elizabeth.

Casting Gender: A Critical History of Women and Performance in China's Twentieth Century. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 359 p.

Source: Dissertation Abstracts International, Volume: 80-01(E), Section: A.

Thesis (Ph.D.)--University of California, Davis, 2018.

This dissertation investigates the legacy of the first generation of professional stage actresses in modern China. When "female actors" began to replace "female impersonators" in the early twentieth century, such a shift was not a simple substitution of biological women for biological men, but rather a complex transition from fluid casting practices---whereby each actor could play roles of either gender---to a system that rigidly aligned the sex of the actor with that of the character. While standard theater histories tend to frame this change as the inevitable result of modernization, I focus on the emergent logic of gender performance that "naturalized" women's assumption of female roles. The significance of the modern Chinese actress, I argue, is not the novelty of her body on stage, but rather her access to public visibility, artistic expression, and political activism.

ISBN: 9780438290938Subjects--Topical Terms:

2122707
Asian literature.

Casting Gender: A Critical History of Women and Performance in China's Twentieth Century.
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500 $a Source: Dissertation Abstracts International, Volume: 80-01(E), Section: A.
500 $a Adviser: Xiaomei Chen.
502 $a Thesis (Ph.D.)--University of California, Davis, 2018.
520 $a This dissertation investigates the legacy of the first generation of professional stage actresses in modern China. When "female actors" began to replace "female impersonators" in the early twentieth century, such a shift was not a simple substitution of biological women for biological men, but rather a complex transition from fluid casting practices---whereby each actor could play roles of either gender---to a system that rigidly aligned the sex of the actor with that of the character. While standard theater histories tend to frame this change as the inevitable result of modernization, I focus on the emergent logic of gender performance that "naturalized" women's assumption of female roles. The significance of the modern Chinese actress, I argue, is not the novelty of her body on stage, but rather her access to public visibility, artistic expression, and political activism.
520 $a Casting Gender argues that this sea change in gender performance continued to affect actresses for decades after they first took to the stage, offering an alternative history of the Chinese spoken drama movement written from the perspectives of its female performers. The Introduction questions whether gender-appropriate casting is inherently progressive, instead thinking of professional female performance as a product of intercultural exchange that traveled throughout Italy, Spain, England, France, Bengal, Japan, Korea, and China. Chapter One close reads accounts of early Chinese experiments with all-female and gender-appropriate performance as they were recorded in theater treatises, biographical anecdotes, and reviews during the 1910s and 1920s. Through a comparison of these sources with more recent theater histories, I reveal the processes by which assumptions about the "natural" superiority of female actresses were gradually canonized. Chapters Two and Three shift the focus toward the representation of actresses in plays about theater-making, or "metatheatrical plays," written between the 1920s and 1950s. Chapter Two examines archetypes of female performers in the works of Tian Han. Scripts such as Death of a Famous Actor (1927) legitimized the social role of an actress by focusing on her profession rather than personal life and, at the same time, unconsciously reinforced biases about performing women by contrasting them against their supposedly more competent male colleagues. Chapter Three then goes on to explore the role of female actors in plays that canonize the history of the spoken drama movement. Annals of Theater (1943) and The Last Curtain (1958) tell decades-long stories of Chinese drama's triumphs and failures. While these texts identify women as central figures in the theater movement, they also struggle to imagine that actresses can be personally or professionally successful, instead portraying them as victims of history. Chapter Four analyzes how famous actresses such as Fengzi, Wang Ying, and Xin Fengxia framed their own careers in autobiographies published in the 1980s and 90s. This concluding section reveals how female performers have rhetorically positioned their accomplishments as an affirmation of, supplement to, or repudiation of traditional theater histories usually based on the words of male playwrights, directors, and theorists.
520 $a Casting Gender's effort to rethink Chinese theater history has two, interrelated consequences. First, it acknowledges theater participants whose transient or corporeal labor falls outside of an analysis centered on a textual corpus. Researching the history of female performance therefore recognizes the critical role played by theater practitioners who themselves may not have had command of the social privilege necessary to be recognized by more conventional examinations of dramatic literature. Secondly, it highlights the implications of modern Chinese drama's realistic tendencies. Because the birth of the modern, professional female actor was also the origin of new assumptions about the "faithful" performance of her role, the history of women's performance in modern spoken drama is then also a history of the molding of gender ideals and their representation onstage and off.
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