Castration performed before the onset of puberty prevented the vocal folds from growing, thereby preserving the high-pitched voice of a prepubescent boy. Chapter four elucidates those aspects of the physiology and functioning of the human voice that are crucial to understanding the differences between a “normally” developed and/or trained voice and that of a castrato and an onnagata. The differences between pre-modern and current conceptions of sex and gender are clearly reflected in the fact that soon after the modern, binary model of gender construction achieved dominance in 19th-century Europe and post-Tokugawa Japan, castrati became extinct while onnagata stopped with the practise of living as onnagata in everyday life. Both performing traditions evolved in two patriarchal societies whose conceptions of sex, gender, sexuality, and the human body markedly differed from our modern ones, providing a cultural climate and an ideological framework enabling them not only to “survive” but also to be admired as artists and oftentimes desired as sexual partners, by men and women alike. The “unnatural” body and voice of the castrato and the highly stylized bodily and vocal transformation of the onnagata from male to the embodiment of femininity were the primary sources of their gendered otherness.
The following two chapters discuss the social, cultural, and political conditions that led to the emergence, rise, and decline of the operatic castrato and Edo-period onnagata. The conclusion is that voice single-handedly has sufficient potential to transgress culturally established gender boundaries, as a result decisively being able to mark (or blur) established gender categories.
Judith Butler’s theory of gender performativity is used to demonstrate that voice not only indicates gender but also plays a crucial role in its construction. John Langshaw Austin’s concept of the performative and his speech act theory are used to show that the meaning of every single human utterance as perceived by the listener is influenced by a variety of factors, one of them being the voice as a signifier of gender. Chapter one defines the theoretical framework necessary to establish the interconnection between voice and gender. They are examined comparatively here for the first time.
Viewed as paradigmatic examples of gender ambiguity on- and off-stage, the two phenomena and genres originated independently of each other in early 17th-century Italy and Japan. This is the central premise of this thesis, which explores the complex interplay between vocal timbre, pitch, and various constructions of gender, using as a focal context the operatic castrato and the onnagata, a male actor specialising in female roles in Japanese kabuki theatre.
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If you have any questions please feel free to ask them in the comments, I will try and do my best to answer them (Not about the EU server though, since I don't play that and there are some things different in there that I don't/may not know.Abstract: Perceptions of the human voice and of gender are interconnected. I thought some of you old players from back in 2003-2006 would appreciate this, since TQ just won't release an old version of the game and their so called "classic co" is basically same as the live game.Īfter you have registered and downloaded the game, I would suggest to play on the US servers because that is the real classic 1.0, their EU one is 1.0 + some of the stuff from 2.0, with 2nd rb + VIP + some other new stuff. So a few days ago I found this awesome (and probably the only) CO 1.0 private server that is an (almost) exact copy of the game like it was back in 2004 with the brown interface.
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