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A01=Francesca R. Sborgi Lawson
Androgynous Bodies
Androgynous Male
Author_Francesca R. Sborgi Lawson
Body Problem
Castrati
Category=AB
Category=AVL
Category=GTM
Category=JBCC
Category=JBSF
Category=NH
Cheng Yanqiu
Chinese performance studies
Comic Routines
cross-gender performance traditions
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
eq_society-politics
ethnographic fieldwork China
Female Fans
Female Masters
Female Narrators
female narrators theatre
Female Performers
Female Singers
Female style
Female Voice
gender in musicology
Male Dan
Manchu Bannermen
Master Disciple Relationships
Master Performer
Metaphysical femininity
Nation Building
Ornamentation
Persona
Republican era cultural history
Ruan Lingyu
Sopranos
Takarazuka Revue
Tragic Ill Treatment
VIP
Western Opera
Women of Quyi
women vocal artists in Tianjin
Young Man
Yue Opera
Zhu Min

Product details

  • ISBN 9781138234130
  • Weight: 430g
  • Dimensions: 156 x 234mm
  • Publication Date: 16 Feb 2017
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
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Why has the female voice—as the resonant incarnation of the female body—inspired both fascination and ambivalence? Why were women restricted from performing on the Chinese public stage? How have female roles and voices been appropriated by men throughout much of the history of Chinese theatre? Why were the women of quyi—a community of Chinese female singers in Republican Tianjin—able to become successful, respected artists when other female singers and actors in competing performance traditions struggled for acceptance? Drawing substantially on original ethnographic fieldwork conducted in the 1980s and 1990s, Francesca R. Sborgi Lawson offers answers to these questions and demonstrates how the women of quyi successfully negotiated their sexuality and vocality in performance. Owing to their role as third-person narrators, the women of quyi bridged the gender gap, creating an androgynous persona that de-emphasized their feminine appearance and, at the same time, allowed them to showcase their female voices on public stages—places that had been previously unwelcoming to female artists. This is a story about female storytellers who sang their way to respectability and social change in the early decades of the twentieth century by minimizing their bodies in order to allow their voices to be heard.

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