certainly don’t want to be put into this kind of death-threatening trouble. For many time, Xiaolou tried to stop Dieyi being feminine and he became increasingly afraid to stay together with Dieyi. Ultimately, his homophobia and femmephobia are forced to be formed to give himself a reason to leave Dieyi. Even today, the aftermath and the terror of the cultural revolution is still there. In almost every childhood of Chinese people, they were taught not to say anything opposes to the country or any leaders of the country. Under the restriction of act and speech, “forced phobia” is everywhere. Comparing to Xiaolou’s forced homophobia, Dieyi was forced to be another extreme by the society—forced feminization. According to “Representations of the Besieged ‘Comrade’”, Peking opera is a kind of transgender practice designed for Dieyi’s feminine traits, thus specifying his homosexual love (Lim, 2006). Through the character “Concubine” that Dieyi plays, he could feel fulfilled because this was the time that he could ask for the love of the “King of Chu”, which is played by Xiaolou. This kind of satisfaction forced Dieyi to be a concubine and to be feminine in the real life. Also, it was ironic that it became the reason of him to be the best performer of concubine that time. According to Chen, “Freud once said that, in many forms of love, the function of this particular subject is replacing ourselves thus achieving the completion of ego idealization.” (Chen, 2015). The forced feminization is forced to attach on Dieyi himself, thus satisfying his egoism and narcissism. Xiaolou said to Dieyi with lament, “You cannot do something well if you are not paranoid.” To the whole society and Xiaolou, Dieyi was insane; however, for Dieyi, it’s the society and all the other people were insane. Dieyi is the only person in the society had his own thoughts and did things based on his own wills. In the interview in 1993 Tokyo International Film Festival, Leslie said, “He was a tragedy, who lived a poor life. The only time he is satisfied is on the stage.” (Youtube, 2014)>