In Chinese Shenfen 身分 is a word contains multiple meanings, such as been referred to “status” and “identity” in English in two words. Which we can call, one is socialistic, the other is individualistic. Therefore in Chinese, if we want to clarify the Shenfen in socialistic meaning, we attached Diwei 地位 [position] behind it.
In thinking of Gao’s theatrical tripartite on performing system, one is been separated into three part: the self, the actor/actress status, and the character. The first and the second stage are both explainable in the word of Shenfen. In this tripartite separation, we know Gao views the self as outside the socialistic status. A person can have many socialistic statuses (office-worker, teacher, government official, dancer, etc) but can only have one identity.
Therefore this identity is stable, unchangeable and metaphysical which unlike status. But how could one describe or discern one’s own identity? Will one individual aware oneself all the time? This identity is vague which attached too much outsiders’ consideration and influences. If in Buddhist’s view the oneness is void (nothingness), will one transfer to different status easier? If we return to the steadiness of identity, even though the self is void, the void should not be nothingness but existence.
It is ambiguous the two opposite semantic meanings coincide. But in eastern philosophical thinking, this idea of two opposite meanings often melts together. (Ying and Yang, Xue and Shi) In an inherited buildup Chinese philosophy, this idea is familiar and acceptable. I don’t know if there will be gap for Westerners to accept this logic? But this idea of theatrical tripartite defines well for performing skills.
Ps1. 「三重性」是自己翻譯的，可能有錯
Ps2. 拼音部份沒經過校對
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