Male actors who specialize in playing dan are referred to as nándàn (男旦); the practice arose during the Qing dynasty due to imperial prohibitions against women performing on stage, considered detrimental to public morality.

[1] This practice of female impersonation by male actors was led by Mei Lanfang, one of the most famous dan performers.

Wei Changsheng, a male Dan performer in the Qing court, developed the cai qiao, or "false foot" technique, to simulate the bound feet of women and the characteristic gait that resulted from the practice.

[2] In Peking opera, the famous Dans are Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun, and Xun Huisheng, all men.

[3] In Pingju, the "Four Big Famous Dans" (四大名旦, Sì Dàmíng Dàn) are Ai Lianjun, Bai Yushuang, Liu Cuixia, and Xi Cailian.

[4] There were also "Four Small Famous Dans" (四小名旦) Li Shifang, Mao Shilai, Zhang Junqiu, and Song Dezhu.

Examples of Guimen roles are Du Liniang (杜丽娘) from The Peony Pavilion (牡丹亭) and Wang Baochuan (王宝钏)from Wujiapo (武家坡).

[7] Similar to Guimen Dan, Qingyi's performance is characterized by singing and speeches, and the range of motion is relatively small.

[7] A Hua Dan (花旦, "flowery role") is a lively, vivacious young female character.

Hongniang of the Romance of the Western Chamber and Yan Xijiao (阎惜姣) of Wulongyuan (乌龙院) have involved the role of Hua Dan.

Daoma Dan is also the original Chinese title of the 1986 Hong Kong film Peking Opera Blues, directed by Tsui Hark.

Lao Dan costumes are also less vibrant compared to other female roles and they have much simpler hair styles.