本文以民國初年（1 1 -1 ）幾部報刊中的京劇劇評為探討對象，分析其中如何以不同的眼光角度來看待男女演員。先對民初女演員出現的背景及其在當時參與京劇演出的客觀條件限制加以介紹，再進一步析論這些「男女有別」的戲評中所反映當時京劇界和社會上存在的一些觀念，包括對女性能力的輕視、將女性演出與淫穢相連結、對於女演員外貌的重視，以及將男性演員的藝術作為標竿的想法等，並進一步說明這些想法如何強化了女演員在劇界的不利處境。

After the founding of the Republic of China in 1 1 , women began performing in the Beijing Opera. Entry into this once male-dominated
art liberated women from traditional gender roles, offering careers and
financial independence, and it also transformed the Beijing Opera. But in
the early days of the Republic, opera critics viewed female actresses with
contempt, underestimating their abilities, believing only male actors could achieve excellence.This paper investigates how Beijing Opera critics, writing in popular magazines and newspapers from 1 1 -1 , applied different standards to male and female performers. Specifically, I argue these critics harbored the same anti-woman biases as those in prominent Beijing Opera circles:that women lacked talent; that women’s performances were indecent; that only a woman’s beauty was of import; and that only a man was the ideal performer.