Sex Of Actors Performing Research

This degree paper is a part of The Research of the Traditional Chinese Opera Singers' Gender Performing. The first chapter discusses the social ideology of gender, which is a conspiracy of society and gender. Its nature is to construct an order between different gender, to become a form of "cultural structure". While traditional Chinese opera singers were socialized, their genders were also symbolized as "the lowly" and "the sexy" as social gender identity. Therefore, words in power make fully control in the gender identity of the traditional Chinese opera singers and secure the economical and political power. There is profound interrelationship between the singers and the power. On one hand, the genders of the singers construct a main form of words in power; on the other hand, the words in power worry the singers' genders, forming a system for the social identity of the singers' genders, and a supportive system of values, which puts the genders into the course of power control and Buddhist morality. The second chapter discusses in the aspect of the personality of the singers' genders. Although the male singers have female tendency, and confront some decadence together with the female singers, the innate Rex of the male, there is protection and tacitly consent to the male singers. In history, the male singers have the male appearance as some political quality, i.e. to remonstrate with the emperor, to conspire a rebellion, to be an imperial officer and to ingratiate oneself with the emperor. The female singers get involved into social activities because of their performing career, there seems to be a tendency of being male. They are actually losing the identity of "good woman". They turn into some subordinate of male superiority while showing their genders in public. Performing becomes a historical symbol of the female singers. Nevertheless, such description of the female singers' historical personality is quite naturalism. It also has component of non-universality and non-subject, but reflects an inner social genders' system and becomes a political and economical reflection of genders. The third chapter describes the unique and subtle personal and cultural relationships between male scholars and female singers. In the male scholars' values, sex is always included. While the male scholars have been in spiritual and physiological contradictions because of the dilemma they have with political power. The female singers' specific social gender identity therefore become a female object to whom the male scholars console and praise. They do so not only in writings to dream of their sex desire, but also deal with the female singers in reality, drinking and singing together. Since the male scholars have multi social identities, their relationships with the female singers unavoidably have a nature of"performing", the double personalities. They make the female singers in a false appearance of saving themselves, and oppose them afterwards. This shows some inner tacit agreement between the male scholars and the major society and the male scholars never could get rid of their destiny of their age.