Transformation of female archetypes in Chinese traditional national opera of the twentieth century

The purpose of the article is to identify transformative changes in female archetypes in twentieth-century Chinese national opera in the context of the gender factor and the ideologisation of Chinese society. The research methodology is to apply the methods of analysis and synthesis, systematisation of facts, comparison and generalisation of the research results. The system-historical method allowed us to consider the formation of female archetypes in Chinese national opera. The comparative and analytical methods were used to structure the stages of transformation of female archetypes in Chinese national opera of the twentieth century. The novelty of the research lies in an attempt to periodise the stages of transformation of female archetypes in twentieth-century Chinese national opera, to identify the reasons for these changes, and to contrast the traditional European masculinisation of artistic archetypes with the Chinese operatic tradition. Conclusions. The Chinese patriarchal system has consistently adapted to a series of revolutionary reforms in society in twentieth-century society. The key meanings of modernity emerged in public debates and transformed the social and political life of the Chinese. However, even in the twentieth century, Chinese culture demonstrated a specific context in relation to European culture. For example, the main characters in many classical tragedies, from monumental ancient Greek works to works of the Renaissance, were men. This tradition is opposed to Chinese culture, in which female archetypes were particularly prominent in the context of strong female heroines and female warriors. The cultural code of the female archetype in Chinese opera contrasted with the traditional European cultural code, where "softness won over strength". Women in twentieth-century Chinese society challenged gender norms, which contributed to their empowerment, increased social status, and strengthened their positions in the opera genre