Cross-dressed for success

Two years ago when he was working as an administrative clerk, Liu Xinran prepared for each day at work in unremarkable fashion. He'd shower, shave and get dressed in a suit before heading out the door to work in his office job at the Beijing Meteorological Bureau. Since then, however, his career has taken a colorful turn.
Now, he prepares for work by sitting in front of a light bulb-lined mirror, meticulously applying makeup including bold mascara to enlarge the appearance of his eyes and rich rouge lipstick. Next, he dresses in long, loose-fitting ancient-era gowns and dons an elaborate headdress. He recites his lines to himself and warms up his vocal chords, psyching himself to hit sky-high falsetto notes. Liu, 33, calms the butterflies in his stomach as he prepares to take to the stage for the latest Peking Opera production he stars in as the nan dan, a male actor playing a female role.

Liu, who knew little about Peking Opera seven years ago, is one of the art form's most acclaimed actors at the Temple Theater Peking Opera House. Having performed around 300 times in less than two years, he has already become a veteran.

Female role forecast

The three major shows he performs in are Peking Opera monodrama Cao Qiqiao, about a twisted woman from a patriarchal society; The Mei Lanfang Classics, a tribute to the art form's namesake master; and The Fated Love, a Peking Opera drama with a contemporary twist. Liu hasn't only won adulation from professional Peking Opera masters and colleagues, but also attracted a large number of youngsters eager to learn the secret of his success.

"I've fulfilled my dream of performing onstage," Liu gushed to Metro Beijing from backstage of the 300-year-old theater. Regardless of whether he portrays a graceful concubine from the Tang Dynasty (618-907) or an unruly country girl from the Ming Dynasty (1368-1644), his self-taught singing, exquisite movements and sometimes bold performances have made him shine under the spotlight.

A native Beijinger, Liu worked at the publicity department of the Beijing Meteorological Bureau after graduating from Peking University with a degree in Chinese language and literature in 2004.

A natural tenor with a clear voice who sang in choirs during his youth, Liu's love affair with Peking Opera didn't begin until relatively late. It was at a gathering of amateur Peking Opera performers in 2005 where his friend's father said he had the potential to excel as a nan dan.

Encouraged by these words of support, Liu taught himself Peking Opera by watching videos and listening to CDs. In 2006, he shocked himself when he clinched the top prize at the Beijing Amateur Peking Opera Competition - an accolade that beckoned an appearance on the televised annual Xiqu Spring Festival Gala.

"I was stunned by my own beauty when I wore the makeup of a woman," Liu recalled of his first time staring at his nan dan makeover in 2006. Liu didn't become serious about pursuing acting until late 2009, when he was offered roles in Hong Kong director Stanley Kwan's romantic Kunqu Opera A Romance and drama Five Acts of Life starring Lin Zhaohua.

Switching to the stage

Unable to secure leave from his work at the bureau, Liu decided to quit his job and pursue his new career. It was a difficult decision to make, and one that he didn't feel comfortable sharing with his parents until six months into his acting career.

"They wanted me to have a stable government job, but for me that's boring. I'd rather have a more challenging job and try out different things instead of working at the same company all my life," he explained.

The practice of male actors portraying female characters in Peking Opera dates back to the origin of the art form in the late 18th century when women were forbidden from being on stage. Its heyday came in the first half of the 20th century when the "Four Great Dan" performers - Mei Lanfang, Shang Xiaoyun, Cheng Yanqiu and Xun Huisheng - pioneered their own styles.

Peking Opera was banned during the upheaval of the Cultural Revolution (1966-76), but underwent a gradual revival from the 1980s. During this time, the number of female performers grew and there were only 10 professional nan dan actors nationwide. While impersonating a woman is chided by some, Liu has revelled getting in touch with his feminine side.

"There's a certain excitement for men who play women's roles. From my stage experience, I've learned the happiness and bitterness a woman's life can entail. Portraying a woman isn't only about imitation, it's about getting to know women," he said.

No passion without pain

Peking Opera favors grace and beauty onstage over reality or accuracy, meaning many movements are suggestive rather than imitative. Every pose is carefully choreographed to avoid sharp angles and straight lines, instead aiming to deliver a more rounded performance.

For example, actors often swirl around in a circular motion from low to high to look upon an object above them. This technique, known as cai qiao or "false footing" to simulate women's pains from bound feet, was an initial point of frustration for Liu.

"I went through hell learning those movements," Liu recalled of his grueling training regime in 2010.

"When I'd get home late at night, I could feel aches all over my body. It seemed my body was falling apart. I'd grimace in pain trying to get up the next morning."

Peking Opera director and playwright Wu Yiping, who worked with Liu for over a year, cited Liu's determination and self-discipline as being pillars for his success.

"A good voice and appearance are the two most fundamental traits for a Peking Opera actor," Wu told Metro Beijing.

"Liu happens to have both, but it is his tireless work ethic and quick understanding that has helped him achieve success."

Liu has drawn on his experience working with theater directors to hone his performance over the past two years, and has even helped attract younger audiences.

"Peking Opera accentuates exquisite movements and mannerisms onstage instead of solely focusing on character portrayal," he said.

"I try to make full use of the stage whenever I am given the opportunity. The stage is the only place where I can learn the art form."