Uncrossing the Borders: Performing Chinese in Gendered (Trans)Nationalism

Lei, Daphne

doi:doi:10.3998/mpub.9769082

Daphne P. Lei

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Over many centuries, women on the Chinese stage committed suicide in beautiful and pathetic ways just before crossing the border for an interracial marriage. Uncrossing the Borders asks why this theatrical trope has remained so powerful and attractive. The book analyzes how national, cultural, and ethnic borders are inevitably gendered and incite violence against women in the name of the nation. The book surveys two millennia of historical, literary, dramatic texts, and sociopolitical references to reveal that this type of drama was especially popular when China was under foreign rule, such as in the Yuan (Mongol) and Qing (Manchu) dynasties, and when Chinese male literati felt desperate about their economic and political future, due to the dysfunctional imperial examination system. Daphne P. Lei covers border-crossing Chinese drama in major theatrical genres such as zaju and chuanqi, regional drama such as jingju (Beijing opera) and yueju (Cantonese opera), and modernized operatic and musical forms of such stories today.

Cover
Title Page
Copyright Page
Dedication
Contents
Acknowledgments
Introduction
Chapter 1. The Performative Border Archetype
Chapter 2. Border Survivors of the Two-Way Crossings
Chapter 3. Popular Theater Rescues the Nation
Chapter 4. The State of the Art
Conclusion
Glossary
Notes
Bibliography
Index

Resources

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Figure 12: Photograph titled Zhaojun Leaving the Pass Behind, by Zhang Nan.

Li-Zhaojun Leaving the Pass Behind

From Chapter 4

Fig. 12. The spectacular border crossing of the modern Wang Zhaojun. Zhaojun Leaving the Pass Behind (Zhaojun chusai 昭君出塞) by Li Yugang 李玉剛 (Beijing, 2015). Courtesy of Zhang Nan 張楠 (photographer).

Dialogue at the Green Mound

From Chapter 4

Fig. 13. The heart-to-heart dialogue between Wang Zhaojun (right) and Cai Yan (left). Cai Yan (on horse) visits the Zhaojun Tomb, and the spirit of Zhaojun (with her pipa) appears. Both clad in the Xiongnu outfit (pheasant feather and fur) and traveling clothes (cape). The Dialogue at the Green Mound (Qingzhong qiande duihua 青塚前的對話, 2006). Courtesy National Center for Traditional Arts GuoGuang Opera Company.

Hero of Half a Lifetime

From Chapter 4

Fig. 14. The legendary meeting between Su Wu (left) and Li Ling (right). Li Ling (young) is luxuriously dressed (in Xiongnu outfit, indicated by the pheasant feathers and fur), while Su Wu (old) is in plain Han clothes, holding his envoy staff. From Hero of Half a Lifetime, Li Ling (Banshi yingxiong: Li Ling 半世英雄, 李陵, 2008) by ½ Q Theatre. Courtesy of ½ Q Theatre.

Figure 15: Photograph of Wang Zhaojun, appearing in a manner of a goddess holding a pipa, by Lu Peng-Chung.

Zhaohun Temple

From Chapter 4

Fig. 15. Wang Zhaojun, appearing in a manner of a goddess (along with Goddess of Mercy and Mazu), holds a pipa. Zhaojun Temple (Zhaojun miao 昭君廟, also named Xinlian Temple [Xinlian si 新蓮寺], Miaoli, Taiwan, 2017). Courtesy of Lu Peng-Chung 盧本中 (photographer).

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Uncrossing the Borders: Performing Chinese in Gendered (Trans)Nationalism

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