Global Journal of Human Social Science, C: Sociology and Culture, Volume 22 Issue 6

Mei Lan-Fang’s American Tour and China’s Images in the U.S. 1 Liu Na Abstract- Since the twentieth century, Peking Opera, a comprehen sive stage art form, ha s been awarded the title of “China’s national drama” and has become a well-known cultural symbol of China. Mei Lan-fang, a female impersonator, was reputed to be the most representative actor of Peking Opera. In the 1930s, Mei led a Peking Opera troupe and visited the United States. Mei’s U.S. tour was not merely a spectacle orchestrated exclusively for curious Americans but was just as much designed to show the national images of China. Based on the American response to Mei Lan-fang’s performance in the 1930s, this article attempts to examine what kinds of Chinese images are from the perspective of the American audiences, how they are constructed, and tries to find out the possible reasons. Keywords: mei lan-fang; peking opera; american images of china. I ntroduction s communication and collision between China and the United States became more frequent in the early twentieth century, the idea of “national diplomacy” emerged in China, which provided opportunities for Mei Lanfang’s visit to the U.S.. Paul Samuel Reinsch, former United States Minister to China, said that if the Chinese and American people wanted to have a better relationship, it would be better to invite Mei Lanfang to the United States to perform his art 2 1 Supported by 2019 Graduate Research Innovation Program of Sichuan International Studies University (SISU2019YY12). 2 齐如山:《梅兰芳游美记：卷一》，北京：商务印书馆，1933年，第2 页。 . This could be regarded as the trigger of Mei’s “cultural diplomacy.” In order to let Peking Opera go abroad and make the world better understand Chinese opera, Mei’s troupe began to prepare for the performance in the United States, with the joint efforts of famous Chinese playwright Qi Rushan. After eight years of elaborate preparation, Mei Lanfang’s troupe set out to perform in the United States on January 18, 1930. Mei’s first performance made a stir in New York City. The ticket prices thereafter were even several times higher than the initial price. Mei was talked about in every street and alley in New York. There appeared a “Mei Lanfang fever.” Although Mei’s tour created quite a stir in the United States, it did not open up a new era for the Sino-U.S. cultural exchanges after this short tide. There are roughly two research paradigms on Mei’s performance in the United States: One is from the perspective of Chinese studies. Researchers attempt to explain Mei’s dramatic language and meaning, for the purpose of exploring the Chinese dramatic system; The other is from the perspective of regional studies. Researchers analyze Mei’s life, social contribution, and artistic heritage to evaluate the significance of this influential Chinese opera actor 3 I. E xotic S pace for E scaping R eality . This article belongs to the latter, aiming to examine the image of China in the U.S. from the perspective of Americans’ comments on Mei Lanfang’s performances in the 1930s, to deconstruct the cultural concepts and ideological discourse behind the American gaze on Mei’s Peking opera performances. This article argues that, although Mei Lanfang’s visit to the United States was a great success, it did not change Americans’ image of China, which was exotic, ancient, and undeveloped. In an 1882 report, Americans described Chinese opera as “unearthly noises. ” 4 To the nervous American, a Chinese play at its best possesses few charms. A few minutes will satisfy him for a lifetime [sic]. He wonders how anything human can live through such an excruciating din... The band strikes up with ear-splitting accompaniments of cymbals and gongs, amid which the actors scream forth their parts in a high falsetto key wholly unintelligible to an untrained ear... The fiddles screech, trumpets blare, battles rage, drums and toms-toms crash, pandemonium breaks loose, and the visitor rushes out into the night to cool his throbbing brain. A nother candid journalist wrote in 1895 to express his view: 5 3 林达：《北美梅兰芳研究视野与方法刍议》，梅兰芳纪念馆网站，20 19年。 http://www.meilanfang.com.cn/index/show/id/301.html, visited on Sep. 6, 2019. 4 Fitch, George H. 1882. “In a Chinese Theater.” Century Magazine 24: 189-92. 5 Masters, Frederic J. 1895. “The Chinese Drama.” The Chatauquan 21: 441-42. Why did American audiences have different opinions on Chinese opera over just four decades? In addition to Mei Lanfang’s excellent performing arts, Qi Rushan’s behind-the-scenes planning and careful selection of performances, as well as American social conditions at that time, all affected whether Chinese opera as an art form was accepted or not. A © 2022 Global Journals Volume XXII Issue VI Version I 23 ( ) Global Journal of Human Social Science - Year 2022 C Author: Doctoral Candidate in Sichuan International Studies University liuna0351@foxmail.com , China. e-mail: