Fang explains that Yue opera, originally known as Shaoxing opera, developed its unique language by incorporating the Zhongzhou dialect and ancient Mandarin phonetics into its Shengzhou dialect. Yue opera has a history of just more than 110 years. Initially performed by all-male troupes, women were prohibited from participating until the 1930s and 40s when all-female Yue opera started to emerge.
"In the 1930s, the introduction of female performers, especially actresses playing male roles, satisfied the desire for women to create idealised male characters— dashingly charming, respectful of women, gentle and considerate—a projection of women's emotional aspirations," says Fang. She points to the male protagonists of the excerpts "Reunion at the Garden", from Questioning His Wife and Demanding to Find His Wife, and "Fortune-telling", from He Wenxiu, as perfect examples of the "sweet, caring guy" image.
Fang believes that Yue opera's appeal to women lies in stories that allow female characters to pursue love freely. In The Butterfly Lovers, for example, the plot is emotionally rich with bold expressions of love. "In areas like autonomy in marriage, mutual respect and reciprocal love, women were historically repressed. Through the emotions in the opera, they found an outlet for their feelings. It used to be said that you couldn't watch Yue opera without bringing a handkerchief to wipe away tears." She cites The Jade Hairpin as an example: "The heroine, Li Xiuying, is mistreated by her husband, and while the social constraints of the time prevent her from rebelling, she ultimately compels him to kneel and apologise in the scene 'Presenting the Phoenix Headdress'. For women, this provides a sense of satisfaction after releasing their grievances."
