{{Short description|General name for female roles in Chinese opera}} {{DISPLAYTITLE:''Dan'' role}} {{chinese|title=Dan|pic=Peony Pavilion （牡丹亭）2.jpg|c={{linktext|旦}}|p=dàn|w=tan}} '''''Dan''''' is the general name for female roles in Chinese opera, often referring to leading roles. They may be played by male or female actors. In the early years of Peking opera, all {{transliteration|zh|dan}} roles were played by men, but this practice is no longer common in any Chinese opera genre.
==Male ''dan'' actors== Male actors who specialize in playing ''dan'' are referred to as {{zhp|p=nándàn|c={{linktext|男旦}}}}; the practice arose during the Qing dynasty due to imperial prohibitions against women performing on stage, considered detrimental to public morality.<ref>{{cite journal |author=Guanda Wu |year=2013 |title=Should Nandan Be Abolished? The Debate over Female Impersonation in Early Republican China and Its Underlying Cultural Logic |journal=Asian Theatre Journal |volume=30 |issue=1 |pages=189–206 |doi=10.1353/atj.2013.0008 |citeseerx=10.1.1.818.4786 |s2cid=161652350 }}</ref> This practice of female impersonation by male actors was led by Mei Lanfang, one of the most famous dan performers.<ref name=":2" /> In the early years of Peking opera, all {{transliteration|zh|Dan}} roles were played by men. Wei Changsheng, a male {{transliteration|zh|Dan}} performer in the Qing court, developed the {{transliteration|zh|''cai qiao''}}, or "false foot" technique, to simulate the bound feet of women and the characteristic gait that resulted from the practice.
In the late Qing dynasty and the early republic, the performance of actresses became popular.<ref name=":2" /> As a result, women were playing increasingly important roles on stage,<ref name=":2" /> but because Peking opera has been characterized by female impersonation, male dan actors were viewed as irreplaceable by female actors.<ref name=":2">{{cite journal |last1=Tian |first1=Min |title=Male Dan: the Paradox of Sex, Acting, and Perception of Female Impersonation in Traditional Chinese Theatre |journal=Asian Theatre Journal |date=2000 |volume=17 |issue=1 |pages=78–97 |doi=10.1353/atj.2000.0007 |jstor=1124205 |s2cid=161979032 }}</ref>
In the twentieth century, the most well-known Peking opera male dan actors were Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun, and Xun Huisheng, known as the {{zhi|out=tr|tr=Four Greatest Dan Actors|c={{linktext|四|大名|旦}}|p=Sì Dàmíng Dàn}}.<ref name="Four Dan">{{cite journal |last1=Wang |first1=David Der-wei |title=Impersonating China |journal=Chinese Literature: Essays, Articles, Reviews |date=2003 |volume=25 |pages=133–163 |doi=10.2307/3594285 |jstor=3594285 }}</ref> In Pingju, the "Four Greatest Dans" are Ai Lianjun, Bai Yushuang, Liu Cuixia, and Xi Cailian.{{sfnp|Chan|2003|p=17}} There were also {{zhi|out=tr|tr=Four Famous Small Dans|c=四小名旦}}: Li Shifang, Mao Shilai, Zhang Junqiu, and Song Dezhu.<ref>{{Cite web|url=http://www.china.com.cn/culture/zhuanti/zgjj/2007-09/20/content_8919349.htm|script-title=zh:京剧四小名旦_中国网|website=www.china.com.cn|access-date=2018-03-15}}</ref>
==Subtypes== There are a few different kinds of ''dan'' in Chinese opera. The commonly seen ones are 'Guimen Dan', 'Zheng Dan', 'Hua Dan', 'Daoma Dan', 'Wu Dan', 'Lao Dan' and 'Cai Dan'. Each different kind of ''dan'' has its own unique characteristics.
===Guimen Dan=== The Guimen Dan ({{lang|zh|{{linktext|闺|门|旦}}}}, "boudoir-door role") is the role of the virtuous lady. They are usually young and unmarried women that have high social status.<ref name=":0">{{cite journal |last1=Evans |first1=Megan |title=Cross-gender playing techniques: Actresses and innovation in the portrayal of female 'Jingju' (Beijing / Peking opera) roles |journal=Australasian Drama Studies |issue=75 |pages=233–258 |url=https://search.informit.org/doi/abs/10.3316/INFORMIT.885015940201650 }}</ref> Guimen Dan focus more on singing, with little movement. They sing in a very high-pitched and piercing voice. Opera schools in China have difficulty recruiting students for this kind of role, since it requires a good voice, good looks, and a good height{{Clarify|reason=what height?|date=February 2026}}. The most famous Guimen Dan of the last century was Mei Lanfang. Examples of Guimen roles are Du Liniang ({{lang|zh|杜丽娘}}) from ''The Peony Pavilion'' ({{lang|zh|牡丹亭}}) and Wang Baochuan ({{lang|zh|王宝钏}}) from ''Wujiapo'' ({{lang|zh|武家坡}}).
=== Zheng Dan === The Zheng Dan ({{linktext|lang=zh|正|旦}}, "straight role"), also known as Qingyi ({{linktext|lang=zh|青衣}}, "verdant-clad"){{refn|group=n|''Qing'' (青) is a color without direct translation into English. It is a single color used to describe shades of green, blue (and some shades of black). The term predates the blue-green distinction in modern Standard Chinese and is now considered to be adjacent to cyan, although it is still used in noun phrases and as an intensifier. ''See'' Blue-green distinction in language.}} is the role of middle-aged women with status, typically wives and mothers.<ref name=":12">{{cite journal |last1=Li |first1=Kay |title=Shaw and Chinese Music: Exploring Cross-Cultural Peking Opera with Mei Lan Fang and Hsiung Shih I |journal=Shaw |date=1 June 2019 |volume=39 |issue=1 |pages=76–97 |doi=10.5325/shaw.39.1.0076 |s2cid=194402442 }}</ref> The characters are mostly married and portrayed as dignified, virtuous, and elegant.<ref name=":12" /><ref name=":3">{{Cite journal |last=Goldstein |first=Joshua |year=1999 |title=Mei Lanfang and the Nationalization of Peking Opera, 1912-1930 |url=https://read.dukeupress.edu/positions/article/7/2/377/22010/Mei-Lanfang-and-the-Nationalization-of-Peking |journal=East Asian Cultures Critique |volume=7 |issue=2 |pages=377-420 |doi=10.1215/10679847-7-2-377 |s2cid=144119467|url-access=subscription }}</ref> Similar to Guimen Dan, Qingyi's performance is characterized by singing and speeches with a relatively small range of motion.<ref name=":1">{{cite journal |last1=Fan |first1=Xing |title=The 'Broken' and the 'Breakthroughs': Acting in 'Jingju' Model Plays of China's Cultural Revolution |journal=Asian Theatre Journal |date=2013 |volume=30 |issue=2 |pages=360–389 |doi=10.1353/atj.2013.0023 |jstor=43187269 |s2cid=143896928 }}</ref> They are also required to not show their teeth or move their dresses when they perform.<ref name=":12" />
=== Wushan Dan === In Teochew opera, in addition to the qingyi role type shared with Peking opera and other Chinese operas, there is a unique subtype: a qingyi who wears a black or dark‑blue gown, known as “wushan” (烏衫). This term exists only in Teochew opera. In the Chaoshan dialect, “wu” means black, so the name carries a strong local flavour. Performers of the wushan role usually portray married middle‑aged women who live in hardship and endure great suffering, for example, Li Sanniang (李三娘) in ''Meeting by the Well'' (井邊會). Their performances emphasise sorrow, vocal skill, and acting technique.<ref name=":4">{{Cite book |last=中華書局編輯部 |title=潮劇完全觀賞手冊 |date=2021-08-19 |publisher=中華書局(香港)有限公司 |year=2021}}</ref><ref>{{Cite news |last=陈文惠 |date=2017-02-14 |title=《井边会》中李三娘服装 最古老的“苦项”: 一件没有镶边刺绣，没有任何花纹装饰，颜色也只有蓝白两色的戏服 |url=https://chaoju.com/index/article/detail.html?id=891&type=jlcb |work=汕头特区晚报}}</ref>
While the standard qingyi typically represents dignified, virtuous women, the wushan in Teochew opera is characterised by a “tragic, emotional” style. Historically, the label has been almost synonymous with “women of bitter fate.” As the Teochew saying goes, “When the wushan steps on stage, tears begin to fall (烏衫出棚目汁滴), highlighting how the tragic experiences and powerful performances of wushan characters move audiences to deep empathy and tears.<ref name=":4" /><ref>{{Cite web |last=陈斐仪 |title=从一场“乌衫出棚”座谈会看潮剧未来之路__南方+_南方plus |url=https://www.nfnews.com/content/5yppZvGwyp.html |access-date=2026-03-01 |website=www.nfnews.com |language=en}}</ref>
===Hua Dan=== A Hua Dan ({{linktext|lang=zh|花|旦}}, "flowery role") is a lively, vivacious young female character.<ref name=":1" /> They normally wear short blouses with pants or skirts. Unlike the Guimen Dan, the Hua Dan focuses more on movements and speech. They must be able to speak quickly and clearly. They also need to project an image of cuteness and innocence as Hua Dan roles portray girls of around 12–16 years old. Often, a Guimen Dan is accompanied by a Hua Dan maid. Hongniang of the ''Romance of the Western Chamber'' and Yan Xijiao ({{lang|zh|阎惜姣}}) of ''Wulongyuan'' ({{lang|zh|乌龙院}}) are examples of Hua Dan roles.
===Daoma Dan=== A Daoma Dan ({{linktext|lang=zh|刀|马|旦}}, "sword-and-horse role"){{refn|group=n|''Dao'' is generically translated as "knife" but what is intended here is a dadao (sword). Chinese distinguishes its bladed weapons by form (single- or double-bladed) rather than by size (knife/sword).}} is a young female warrior. This style of performance usually involves horseriding with a special saber called a dadao (大刀, "large knife"). This category is superficially similar to the Wu Dan but with less fighting, instead involving stunts and dancing with spears and other weapons. The Daoma Dan requires great stamina as the role requires singing while dancing or doing stunts. The Daoma Dan usually wears female warrior costumes with armor flags (kào qí, 靠旗) mounted on the back. Examples of Daoma Dan are Liang Hongyu and Mu Guiying. ''Daoma Dan'' is also the original Chinese title of the 1986 Hong Kong film ''Peking Opera Blues'', directed by Tsui Hark.
===Wu Dan=== The Wu Dan ({{linktext|lang=zh|武|旦}}, "martial role") specializes in fighting with all kinds of weapons. The Wu Dan engages in fighting with opponents in addition to doing stunts, typically on the ground as opposed to the horseback role of the Daoma Dan. In the past, the Wu Dan needed to perform cai qiao (踩跷, "on stilts") which the Daoma Dan did not do. Cai qiao, also known as the "false foot" technique pioneered by Wei Changsheng, is a very difficult skill requiring the actor to stand on their tiptoes for the entire show, assisted by special heeled shoes. In order to imitate the appearance and gait of bound feet, the heels of the shoe are so high that the actor is practically standing on tiptoe atop a small wooden false shoe. Wu Dan must also master many acrobatic movements. They specialize only in fighting hence they seldom sing or speak. Examples of Wu Dan are Zhizhujing ({{lang|zh|蜘蛛精}}) of ''Pansidong'' ({{lang|zh|盘丝洞}}) and Hu Sanniang.
===Lao Dan=== The Lao Dan ({{linktext|lang=zh|老|旦}}, "old role") are older women. They have a set of movements, gestures, and singing styles distinct from the Guimen Dan. The Guimen roles sing in high-pitched and piercing voices while the Lao Dan sing at a lower pitch. Lao Dan costumes are also less vibrant compared to other female roles and they have much simpler hair styles. An example is Dowager She of ''Yang Men Nu Jiang'' ({{lang|zh|杨门女将}}).
===Cai Dan=== The Cai Dan ({{linktext|lang=zh|彩|旦}}, "colorful role") is a clownish woman. Unlike other Dan roles, Cai Dan speak in normal voices and perform clownish gestures along with normal daily mannerisms. Clownish dans are now typically performed by men; hence they are physically unattractive with features exaggerated by hideous makeup.
===Huashan=== One of Mei Lanfang's most important contributions to Peking opera was the role of the {{transliteration|zh|''huashan''}}. Earlier actors such as Yu Ziyun and Wang Yaoqing (a teacher of Mei), had pioneered the role, but Mei developed and popularized it to a global audience, notably in his portrayal of Consort Yu of ''Farewell My Concubine''.<ref name=":3" /> The Huashan is lively and flirtatious while remaining elegant and poised, combining the artistic features of the Hua Dan and Zheng Dan;<ref name=":3" /> occasionally it also includes a soldierly aspect that incorporates features from the Daoma Dan.<ref>{{cite journal |last1=Wichmann |first1=Elizabeth |date=1990 |title=Tradition and Innovation in Contemporary Beijing Opera Performance |journal=TDR |volume=34 |issue=1 |pages=146–178 |doi=10.2307/1146013 |jstor=1146013}}</ref> Although the role was popular upon its debut, the composite nature of the visually alluring yet morally virtuous Huashan attracted criticism for erasing distinctions between role types and marking a moral decline in sexuality by the perceived elimination of "true" Zheng Dan roles.<ref name=":3" /> Modern scholars acknowledge that the Huashan role permits a more versatile and multifaceted portrayal of women in comparison to Confucian standards, but its paradoxical combination of sexuality and virtue has been critiqued as an unattainable standard for women.<ref>{{Cite book |last=Goldstein |first=Joshua |title=Drama Kings: Players and Publics in the Re-creation of Peking Opera, 1870-1937 |publisher=University of California Press |year=2007 |isbn=9780520247529 |pages=130}}</ref><ref>{{Cite journal |last=Liu |first=Jiacheng |year=2016 |title=Transgressive Female Roles and the Embodiment of Actresses in 1910s Beijing |url=https://www.tandfonline.com/doi/full/10.1080/15215385.2016.1108707#d1e151 |journal=Twentieth-Century China |volume=41 |issue=1 |pages=29-51 |via=Taylor & Francis}}</ref>
== See also ==
* Chinese opera * Chinese opera costume * Guzhuang (costume) * Theatre of China
==Notes== {{Reflist|group=n}}
==References== ===Citations=== {{Reflist|30em}}
===Bibliography=== * {{citation |last=Chan |first=Wai "Shirley" |editor-last=Xiao |editor-first=Hong Lee "Lily" |editor2-last=Stefanowska |editor2-first=A.D. |display-editors=0 |title=Biographical Dictionary of Chinese Women: The Twentieth Century, 1912–2000 |url=https://books.google.com/books?id=XOGdnCPJSOMC |contribution=Bai Yushuang |contribution-url=https://books.google.com/books?id=XOGdnCPJSOMC&pg=PA17 |pages=16–18 |series=University of Hong Kong Libraries Publications, No. 14 |editor3-last=Wiles |editor3-first=Sue |date=2003 |publisher=translated from the Chinese by Cui Zhiying for M.E. Sharpe |isbn=9780765607980 }}. * {{cite book|last=Crump|first=J. I.|title=Chinese Theater in the Days of Kublai Khan|year=1990|publisher=University of Michigan Center for Chinese Studies|location=Ann Arbor|isbn=0-89264-093-6|edition=Reprint}}
{{Chinese opera roles}}
{{DEFAULTSORT:Dan, Opera, Chinese}} Category:Chinese opera role types Category:Female stock characters