Liu Xinran, a self-taught Beijing opera performer who specializes as a nandan, a man who portrays a female role on stage, will perform two one-man shows in Shenzhen at the end of this month.

The shows are “Lady Macbeth,” adapted from Shakespeare’s literary classic, and “Cao Qiqiao,” adapted from Eileen Chang’s novel “The Golden Cangue.”

Unlike many of the Beijing opera performers who begin training from childhood, Liu took up the craft after quitting his job as a publicity clerk for the Beijing Meteorological Bureau in 2010.

A native Beijinger, Liu worked at the Beijing Meteorological Bureau after graduating from Peking University with a degree in Chinese language and literature in 2004.

A natural tenor with a clear voice who sang in choirs during his youth, Liu’s passion for Beijing opera didn’t begin until relatively late. During a gathering of amateur Beijing opera performers in 2005, his friend’s father said he had the potential to excel as a nandan.

Encouraged by these supporting words, Liu taught himself Beijing opera by watching videos and listening to CDs. As he went deeper into the operatic tradition, he was struck by how graceful and melodious its moves and music are. In 2006, he shocked himself when he clinched the top prize at the Beijing Amateur Beijing Opera Competition — an accolade that beckoned an appearance on a national televised gala on China Central Television.

“I was stunned by my own beauty when I put on women’s makeup,” Liu recalled of his first time staring at his nandan makeover in 2006. He didn’t become serious about pursuing acting until late 2009, when he was offered roles in Hong Kong director Stanley Kwan’s Kunqu opera “Two Belles in Love” and Lin Zhaohua’s drama “Five Acts of Life.”

The practice of male actors portraying female characters in Beijing opera dates back to its origins in the late 18th century when women were forbidden from being on stage. Its heyday came in the first half of the 20th century when the “Four Great Dan” performers — Mei Lanfang, Shang Xiaoyun, Cheng Yanqiu and Xun Huisheng — pioneered their own styles. Liu says his mantra on stage is innovation, not imitation. “Copying Mei will lead to the death of my artistic life,” he said.

Time: 8 p.m., March 27 (“Cao Qiqiao”), March 28 (“Lady Macbeth”)

Tickets: 80-380 yuan

Booking: WeChat account “GuangmingArtCenter”

Venue: Guangming Culture and Art Center, Guanguang Road, Guangming District (光明区观光路光明文化艺术中心)

Metro: Line 6 to Fenghuang Town Station (凤凰城站), Exit B(SD News)