In the role of “Chou” of Beijing Opera, there is a performance model that mendressed as women. Such a performance model is different from either the “Dan” ofmale or the performance of other branches of “Chou”, being a special existence. Theyare composed of two parts including the “pozi” and “Caidan”. These two parts shareboth similarities and differences. In the long history of Beijing Opera, many famousperforming artists, including Liu Gansan and Ci Ruiquan, are good at creating such roles.
However, the elegant demeanor of the famous“Chou”artists could only be found in thegeneration long time ago. Therefore, the research on the performance of “Pozi” and“Caidan” has not developed into a system. This paper compares the performance of“Pozi” and “Caidan”, lists out the differences of the two parts from the performedfigures, performing skills and role appearances, and demonstrates their performingscopes. Besides, in retrospect to the history, this paper sorts out and summarizes theperforming styles of famous “Chou” artists who are good at performing such roles. Onthe basis of the summary of predecessors’ stage practices, it gets the aesthetic featuresfor presenting the roles of “Pozi” and “Caidan”. It sets to supplement the theory ofthe performance concerning this type and develop the correct recognition through theabove mentioned research, analysis and demonstration.