1.Scott, A. C. (1999) The Kabuki Theatre of Japan (New York: Dover Publications), p. 17.
2.Yao, Y. (2010) Burong Hushi de Yige Zhongyao Wenti: Lun Jingju Nandan Hangdang de Jicheng he Fazhan (An important question that should not be ignored: on the inheritance and development of female impersonation in Peking Opera). Zhongguo Jingju (Chinese Peking Opera), 3, 16. If not otherwise stated, all translations are done by myself.
3.He, C. (2013) Trespassing, crisis and renewal: Li Yugang and cross-dressing performance. Differences: A Journal of Feminist Cultural Studies, 24(2), pp. 150–171.
4.Qing, Y. (2009) Jinian Mei Lanfang Fangri 90 Zhounian: Mei Lanfang Zaixian Fusang (Commemorating the ninetieth anniversary of Mei’s visit to Japan: the exhibition about Mei Lanfang in Japan). Beijing Daily. http://enjoy.eastday.com/e/20091211/u1a4871755.html. Accessed 11 December 2009.
5.Tian, M. (2000) Male dan: the paradox of sex, acting, and perception of female impersonation in traditional Chinese theatre. Asian Theatre Journal, 17, 84.
6.Mei, L. and Xu, J. (1952) Wutai Shenghuo Sishi Nian (Forty-Year Stage Life) (Shanghai: Pingming Press), vol. 1, p. 100.
9.Pavis, P. (1996) Analyzing Performance: Theatre, Dance and Film. Trans. David Williams (Ann Arbor: The University of Michigan Press), p. 66.
10.Mezur, K. (2005) Beautiful Boys/Outlaw Bodies; Devising Kabuki Female-likeness (New York: Palgrave Macmillan), p. 4.
11.Brandon, J. R. (1999) Kabuki and Shakespeare: balancing yin and yang. TDR, 43(2), pp. 15–53.
12.Bowers, F. (1998) Tamasaburo in Elizabeth. Asian Theatre Journal, 15(2), pp. 270–274.
13.Yomota, I. (2007) Chuangxin Jiqing: 1980 Nian Hou de Riben Dianying (The Passion for Innovation: Japanese Films Since 1980). Trans. Wang Zhongyi and Wang Xiaozhi (Beijing: China Film Press), pp. 244–457.
17.Zheng, P. (2010) Ban Dong Yu San Lang he Kunqu de Pushi Jiazhi (Bando Tamasaburo and the universal values of Kunqu Opera). Shu Cheng (Book Town), March, p. 41.
18.Garber, M. (1992) Vested Interests: Cross-dressing and Cultural Anxiety (New York and London: Routledge), p. 243.
19.On 20 August 2012, Chengzhou He visited Suzhou Kunju Opera Theatre and had an interview with Shen Guofang mainly about her collaboration with Bando Tamasaburo in The Peony Pavilion as well as the production and reception of the co-production.
20.Feng, Y. (2010) Cong Chuantong Dao Xiandai Jiaoliu: Zhong Ri Ban Mudan Ting (From tradition to modern communication: the Sino-Japanese version of The Peony Pavilion). Suzhou Daxue Xuebao (The Journal of Suzhou University), 2, p. 119.