Cheng Dieyi in Farewell My Concubine, A drag or an act? A queer or an actor?

Xing Hongru

Abstract


This article reflects on the character Cheng Dieyi, highlighting the gender trouble that emerges through the corporality. From Judith Butler’s theory of gender performativity, the article attempts to propose the possible connection between the drastic shift in Dieyi’s gender identity and the repetitive and performative practices of female impersonation throughout his professional learning to be a male Dan* actor of the Beijing Opera (Jingju). Beyond a usual reading which attributes Dieyi’s suicide to psychological disorders that confuse life and performance, my hypothesis is that his gender
trouble should be understood as queerness in affective and intimate terms; thus, exposes the dynamic
relation between performance and performativity and invites reflections and criticisms about such
dynamics in Butlerian performativity.

Keywords


Gender; Performativity; Performance; Queer, Subject.

Full Text:

PDF


DOI: http://dx.doi.org/10.18002/sin.v2i13.7232

Refbacks

  • There are currently no refbacks.


Copyright (c) 2022 Xing Hongru

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

Sinología hispánica. Revisión de estudios de China

Contacto: sinologiahispanica@unileon.es
Soporte técnico: journals@unileon.es

ISSN 2444-832X (Ed. Impresa)

eI.SSN 2531-2219

             © Instituto Confucio, Universidad de León

                               © Autores