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

Autores/as

DOI:

https://doi.org/10.18002/sin.v13i2.7232

Palabras clave:

Gender, Performativity, Performance, Queer, Subject.

Resumen

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.

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Biografía del autor/a

  • Xing Hongru, Facultad de Estudios Extranjeros Universidad Normal de Hunan Changsha, Hunan, China 410012
    Facultad de Estudios Extranjeros
    Universidad Normal de Hunan
    Changsha, Hunan, China 410012

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Publicado

2022-02-25

Número

Vol. 13 Núm. 2 (2021)

Sección

Artículos

Cómo citar

Cheng Dieyi in Farewell My Concubine, A drag or an act? A queer or an actor?. (2022). Sinología hispánica. China Studies Review, 13(2), 127-144. https://doi.org/10.18002/sin.v13i2.7232

Licencia

Derechos de autor 2022 Xing Hongru

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