Taiwan Today

 

Female roles in Chinese opera were play­ed by men well into the 20th century.

Mei Lan-fang and other impersonators came to personify the eternal feminine and set the example of histrionic skill for the modern period in which women can play themselves.

This means that today's female performer is imitating a man's imitation of a girl or woman. As play­ed by the male "tan," female roles had not only the usual symbolism of Chinese opera but also the symbolism of super-feminism sufficient to persuade an audience that the performance was the antithesis of maleness.

This was not caricature but an emphasizing of those points which make a woman what she is: a toss of the head or flutter of a hand.

 

 

 

 

 

The "tan" role of Chinese opera has six main subdivisions: "ch'ing i", "hua tan", "tao ma tan", "wu tan", "ts'ai tan" and "lao tan".

The "ch'ing i" are primarily singers and need not have acrobatic skills. These are the roles of faithful wife, filial daughter and other "good women." The voice is high and clear.

"Hua tan" are actresses rather than singers. They are charmers and, especially in older times, not always of exemplary character. These were great roles for the female impersonators.

"Tao ma tan" and "wu tan" both belong in the category of female warriors. The "tan" had opportunity to combine femininity with the masculine pursuits of swordsmanship, fighting with lances and horsemanship. Gymnastics is more important than singing. Yet beauty, charm and seductive grace remain important.

The "ts'ai tan" are clowns and usually with a touch of evil, as the deceitful maidservant or scheming matchmaker. Not all these comics are bad looking.

The "lao tan," an old woman, is one of the most realistic roles of the Chinese opera stage.

The gait is hesitant, the back bent and the head lowered. Singing is important with plaintive laments for other and better times. As played today by women, these parts reflect the femininity created by "tan" actors.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The "ch'ing i" below manipulate silk streamers of many hues in a graceful dance.

Many routines and much of the stage business of Chinese opera were originated or modified by the "tan."

The' female impersonators got their start in Chinese opera because it was considered undignified and even immoral for women to appear on the stage.

The emancipation of women that came after establishment of the Republic in 1912 doomed impersonation. But the "tan" survive stylistically.