Cheng Dieyi in Farewell My Concubine, A drag or an act? A queer or an actor?

This article reflects on the character Cheng Dieyi, highlighting gender trouble that emerges through corporality. From Judith Butler’s theory of performativity, attempts to propose possible connection between drastic shift in Dieyi’s identity and repetitive performative practices female impersonation throughout his professional learning be a male Dan* actor Beijing Opera (Jingju). Beyond usual reading which attributes suicide psychological disorders confuse life performance, my hypothesis is gendertrouble should understood as queerness affective intimate terms; thus, exposes dynamicrelation performance performativity invites reflections criticisms about suchdynamics Butlerian performativity.