This thesis is to research from the point of view of “ Body” to discuss the essence of the performing art of the Dan/旦 in Jing-ju/京劇, and to analyze the factors and effects in the process of developing the performing technics of the Dan in Jing-ju. Males, who construct the performing art of Dan in Jing-ju, and try to overcome the embarrassment of the trans-gender acting. However, the country fell in political turbulence and culture impact after 1912. So there is the dialectical and intricate relationship in the Jing-ju actors’ technics between the society and the culture.
The structure of this thesis will be based on the discussion of the inheritance system that influenced the aesthetic development in the Dan. Therefore, the themes of this thesis will also discuss the performing technics of the Hang-dang/行當, the style, and the actors’ identification. Role of “Qing-yi/青衣” that was developed by Chen De-lin/陳德霖 and “Hua-shan/花衫” developed by Wang Yao-qing王瑤卿 were the turning point of the Dan, especially Chen is the key person who let the role of Dan free from the image of “Xiang-gong/相公” through establishing the unique singing skill and performance. Wang absorbed varies performing art style and technics to make the performing art of Dan in Jingju more vivid and substantial. These relationship were just like the competition between master and apprentice, especially it was more apparent between Mei Lan-fan/梅蘭芳 and Cheng Yan-qiu/程硯秋. It also aroused the theory of self-identification, and also the inheritance of their performing art. In fact, Mei and Cheng also faced with more complicated social change and competition, this special interaction also upgrading their technics to the fields of humanism. This research will conclude in Cheng’s performing art, that focus on actor’s self-identification, that is, the performing art of “body” of Dan from the point of view through themselves, theater and political society.