京剧当中的旦角从来都是男扮女装反串表演，这是为什么？？？
推荐回答（4个）
《京剧舞台上的性别反串艺术》
当年，曾有媒体采访梅兰芳大师，问男旦是不是封建时代的产物？梅大师仅仅回答了四个字：“这是艺术”。
1840年京剧形成的初期，京剧舞台上只有男演员，没有女演员，所以早期剧目多以生行戏为主，旦角戏很少。作为梨园现象，“男旦”是历史的产物。
导致这种并非常态的“男扮女”现象的原因之一，跟旧时代禁止女演员登台的封建道德律令不无关系。尽管女伶演戏在元明舞台上曾一度活跃（尤其是元代），但到了清代，随着礼教意识强化，由于朝廷明令禁止女子演戏、禁止养家班，京城等地梨园竟成为清一色男演员的天下。康熙以来，几乎每朝都有相关禁令，甚至连女子看戏也严加禁止，如：“道光时，京师戏园演剧，妇女皆可往观，惟须在楼上耳。某御史巡视中城，谓有伤风化，旋奉严旨禁止。”“咸丰时，张观准夙以道学自名，尝官河南知府，甫下车，即禁止妇女入庙观剧。”（《清稗类钞》第5065—5066页，中华书局 1984年版）。在此背景下，早期京剧界“全男班”盛行，从编剧、演员到乐师、化妆师，台前幕后，各色人等无不由男性担当，而剧中人物无论男女老幼，也均由男子来扮演，至于女性则被排斥在大门之外。
后来，风气渐开、坤角初起时期，女演员登台仍难免遭受冷眼。如：江上行《六十年京剧见闻》所述：“从前京剧演员只有男性没有女性，这就是男扮女的由来。光绪中叶有了女演员，但受到歧视，被称为髦儿戏。进不了大班，男角称为名伶，女角则以坤角呼之，以示区别。一方面是受重男轻女封建旧观念的支配，另一方面则是因为坤角的艺术难与男性名角比拟，大都演些减头去尾的唱工戏。”
男子要比女子更能吃苦些 所以大多数是乾旦，也就是男旦。不过坤旦也是有一些的只是都不太出名。此外还有个原因是乾旦的嗓音由于是在男声的基础上表现出的女声，相比女子所唱的女声会多一点站的住的感觉。听大师的唱应该能体会。。他们的声音你细细品味的话，应该会觉得要比女声好听的多，有味道的多。他的音域会宽广。
原来都是穷人把男孩送去唱戏，女孩都去当**（就不说了哈）这两种职业都被人称为下九流。不过现在不是这样了，楼主不该说从来。嘻嘻
二楼引用的文章有对有错,大概是半业余的人写的。反串我们都知道不是男扮女妆的意思。反串应该说是演戏高度发达的产物,有的戏班或剧种,人员不齐,一个演员既演丫头又兼演花脸,整天串来串去,也就无所谓反串了。只有人员齐整、分科细致,才会要求演员对本行精益求精,轻易不可反串。
按这篇文章的意思,男扮女妆是清朝不让女的演戏才造成的,其实唐朝就是这样。清朝以前虽然女的可以演戏,但女子戏班演男角色就要女扮男妆,男子戏班演女角色就要男扮女妆,总之男的女的不可以借演戏的名义在台上拉拉扯扯。
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