ABSTRACT
Sexual relations in theatre troupes existed before and after the Ming, in private theatre as well as in public and court theatres. The impact of sexual relations, however, differed significantly in time and among the troupes. Not motivated by profit or bound by tradition, the Ming elite troupes afforded the sexual relations that made an immense and lasting impact on the drama scene. The peculiar set of sexist criteria for performers was hitherto unheard of in public or court theatre. Positioning the feminine features under the male gaze, the sexist criteria judged a private actress – and similarly her male counterpart – as sexual object and partner, opera performer and character. Four interrelated criteria simultaneously applied to her can be traced from Ming sources.
