CHINA DAILY | HONG KONG EDITION Wednesday, September 30, 2020 | 17 YOUTH Solving a classic dilemma

Peking Opera film hopes to entice a younger audience away from their gadgets and to develop an appreciation for traditional performing arts, Wang Kaihao reports.

lder generations around the world share at least one common concern: How to get younger peo­ Ople, hooked on their electronic gad­ gets, interested in classic literature. Take the Monkey King, or Sun Wukong, as an example. The protag­ onist in the 16th­century classic novel, Journey to the West, is a romantic figure of bravery and adventure that had enthralled mil­ lions of readers prior to the appear­ ance of online attractions. Havoc in Heaven, a Peking Opera film released on Sept 18, may attract the wider public to the glamour of the traditional Chinese performance art, featuring one of the best­known chapters from Journey to the West. This remake, which is presented by Fujian Film Studio and Fujian Peking Opera Theater, is an eagerly anticipated highlight of a national project initiated in 2011 targeting Peking Opera films, and is, so far, the only production focusing on martial arts in the repertoire, according to Cheng Lu, director of the film. excerpt. Peking Opera films once “It’s a big challenge to combine played a dominant role in the 1960s Peking Opera and film, each of and ’70s, but its growth was dramati­ which has its own rhythm,” Cheng cally stunted with the arrival of more says in an interview with China diversified entertainment. Daily. “Havoc in Heaven includes Luckily, in recent years, the vin­ nearly all the key ingredients of tage art of Peking Opera films has, Peking Opera: It covers all the basic once again, risen in popularity, as techniques, more than 10 classic noted by screenplay writer Gong tunes, and makeup for dozens of Yingtian. In 2015, a national alliance facial representations of different of Peking Opera films was estab­ figures’ characteristics. lished, giving impetus to the further “If we can use a fresh approach to development of the genre, and present the traditional art form, it many such films have been nomi­ may create a new channel to pro­ nated for domestic film awards. mote Peking Opera.” However, the overuse of special Cheng grew up in a Peking Opera effects in real­life scenarios that family and used to be a performer at can be seen in many film adapta­ the Fujian Peking Opera Theater Clockwise from above: Li Zhe, one of the four young Peking Opera performers playing the role of Sun Wukong in the Peking Opera film, tions of Peking Opera plays has which staged classic pieces, such as Havoc in Heaven. Performers from the Fujian Peking Opera Theater form the heavenly army which battles against the Monkey King destroyed the original charm of the Havoc in Heaven. He later switched in the film. Director Cheng Lu instructs a performer on­site producing the film in Fujian province. PHOTOS PROVIDED TO CHINA DAILY stage performances. to work as a director for other gen­ “A way out is to find suitable res of films and TV, but his deep directors who really appreciate affection for the traditional art form begins with the birth of the Monkey action of eating without taking a bite. achieve some visual effects and to tional personality of the cultural icon”. Peking Opera, not to chase after never diminished. King and ends with his heroic vic­ Some background images on realize impossible scenes, such as In order to help Zhan and the oth­ famous directors who made their “My parents used to tell me: ‘Love tory over the troops of the heavenly stage, like the painted waterfall, explosions or the heavenly court er young performers achieve this name in other genres,” Gong says. for Peking Opera is like an incurable army. remain, and a live band was on set floating in the clouds — things goal, the production team enlisted “We cannot sacrifice the imagination disease. Once you’ve got it, you’ll Havoc in Heaven has become a to provide a soundtrack for the which, as a stage performance, rely the help of several veteran Peking (enabled by the stage) for a movie’s never get rid of it,’” he recalls. “I only key production in the classic Peking film, rather than overdubbing pre­ solely on the viewers’ imagination. Opera actors to guide them and expression.” began to understand what they Opera repertoire since the late Qing recorded music. Also, close­ups and slow motion ensure that every detail of their per­ In this aspect, Havoc in Heaven meant since I came back to direct Dynasty (1644­1911). The new film “If we change the traditions to scenes in the film leave no room for formance was well honed. may be seen as a good example, this film in 2017.” follows the script and performance cater to people’s taste and prefer­ actors to make the slightest mistake The combined effort has paid div­ according to Liang Hansen, head of formats of the 1950s, when Havoc in ence for a regular film, it will no in front of cameras, such as those idends. Wang Xiaoshuai, a famed the national alliance. “Visual effects Balancing act Heaven became hugely popular on longer be a Peking Opera piece of that would probably go unnoticed in film director, said following the meet an expectation of the audi­ Every child in China grows up stage, turning Sun Wukong from a art,” Cheng explains. an opera house. film’s premiere on Sept 18: “Thanks ence, but the fighting scenes are hearing the story recounted in previously laid­back youngster into On the other hand, some creativi­ to the remarkable martial arts realistic. That has proved to be the Havoc in Heaven. It is a coming­of­ an untamed hero. ty is needed because Cheng and his Fighting for attention scenes, this film will be a new attrac­ right way to mix the forms of Peking age tale that sees Sun Wukong turn Decades later, one challenge that team don’t just want to document a For Zhan Lei, 37, one of the four tion for future generations, possibly Opera and films effectively, based on from a carefree character into the Cheng and his production team face stage performance. actors playing Sun Wukong, taking drawing more young enthusiasts to a solid concept.” great Monkey King. Sun Wukong is how to balance the new approach For instance, four young actors part in Havoc in Heaven is the reali­ Peking Opera.” The movie is potentially a turning obtains “golden cudgel”, a magical with maintaining the fundamentals play the role of Sun Wukong in dif­ zation of a childhood dream. The traditional art, as Cheng point, says Rao Shuguang, president weapon, from the Dragon Palace of the art. ferent parts in the film. According to “You name any line from (the admits, although generally consid­ of the China Film Critics Associa­ under the sea, leading the Dragon “The basic principles and per­ Cheng, this is to fully display each 1986 TV series) Journey to the West, ered as a Chinese cultural treasure, tion. “To nurture the audience’s King to appeal to the heavenly formance skills in Peking Opera performer’s expertise, in martial I can tell which episode it comes needs to capture the attention of a taste is a long­term project,” Rao court. Sun Wukong is then enticed cannot be changed,” he says. arts, dialogue, dancing or singing. from,” Zhan says. “Because I admire younger audience, many of whom says. “It will be great if we can breed to heaven, where a scheme to For example, performance in To facilitate a more film­like Sun Wukong, I want to be impecca­ are distracted by, and diverted to, an interest in younger viewers while ambush him is set and he is put Peking Opera often emphasizes sym­ rhythmic flow, Cheng cut some ble in the performance.” the myriad other entertainment better displaying the cultural signif­ into a furnace. However, after bolism over the accurate portrayal of interludes that are typical to the He used to display the most diffi­ options available. icance of Peking Opera to the film­ burning for 49 days he changes and motion. There are never real horses stage performances and uses mon­ cult martial arts skills onstage, but he Peking Opera is no stranger to the going public.” evolves, until finally breaking free on the stage, and the film reflects tages to move the story along. Com­ says production of the film has made silver screen. Dingjun Mountain with a glaring pair of “gold­gaze that. And when Sun Wukong “eats” puter­generated imagery is also him realize that the skills need to fit (1905), the first Chinese movie, is a Contact the writer at fiery eyes”. The climax of the tale peaches, he merely mimics the applied in a restrained way to the “role” to best reflect “the excep­ recorded clip of a Peking Opera [email protected]

play on the show will pique people’s interest in the traditional art,” Luan Funny you should say that as cross­talk raises a laugh says. “I want to see more audience members flow into our theaters in the future to enjoy shows in person.” By XING WEN trio or a group, also exist. better understand it. Zhong Wutong, a 30­year­old [email protected] The reality show, Deyun Douxi­ In each episode, the participants office worker from Nanjing, Jiangsu aoshe (A Bantering Battle Among are also required to prepare new province, is a frequent theatergoer. Cross­talk fans will finally have Deyunshe Comics), which has scripts based on the challenge they “It’s easier for the troupe members something to chat about this month. obtained a rating of 8 points out of have just completed, and then to do to reveal their real selves when After an eight­month interruption 10 on China’s popular review plat­ an impromptu cross­talk show undergoing the intensive activities due to the COVID­19 pandemic, form Douban, aims to make the on­site with a random partner. on the program, which I found xiangsheng, or cross­talk, is making audience laugh, not only through Their master Guo and his perform­ cute,” she says. a welcome return. A troupe called traditional stage gags, but also as a ance partner Yu will rate and com­ She adds that although people Deyunshe is performing their quick­ result of the hilarious offstage inter­ ment on their performances. Guo can be exposed to traditional cross­ witted banter in teahouses and thea­ actions among troupe members. founded Deyunshe in 1995 and is talk performances via audio and ters where the traditional Chinese On the show, younger members of credited with reviving cross­talk, and video streaming services, the physi­ art form of comic storytelling is the Deyunshe troupe have to com­ the troupe boasts sold­out shows. cal theater shows still best appeal to cherished. plete various challenges, such as Li points out that the professional her, because the performers, as well This follows a revealing reality taking part in role­play, treasure comments from the duo will help as the atmosphere in the theater, show which goes backstage with the hunts and competing in rafting the audience cultivate or deepen “nearly send me rolling on the floor cross­talk performance group that is races. Participants include Yue Yun­ their appreciation for the tradition­ with laughter”. “It’s a very relaxing currently being aired on Tencent’s peng, 35, Meng Hetang, 32, Zhou Young cross­talk performers, including Luan Yunping (right) and al art form. experience,” she says. video streaming platform. Jiuliang, 26, and Qin Xiaoxian, 24. Meng Hetang, participate in the reality show Deyun Douxiaoshe. Luan Yunping, a member of the Due to the pandemic, many com­ With more than 150 years of histo­ They were supervised by the PROVIDED TO CHINA DAILY troupe, says that the show has mercial cross­talk performances ry in China, xiangsheng was first troupe’s founder Guo Degang, also a honed their capabilities to impro­ were postponed. As a result, some publically staged in Beijing’s Tianqi­ veteran performer, and his perform­ vise new sketches and collaborate performers took to frequenting TV ao area in 1862. The performers ance partner Yu Qian. during a later improvisation. “We want to dig out more refresh­ with different partners. programs that have little to do with entertained audiences with jokes, Elements of the traditional art And the performers’ basic skills of ing elements from the xiangsheng Luan, 36, also says that as they had their specialties in a bid to boost comedic banter and imitations of form have been integrated into the shuo (talking), xue (imitation), dou culture and explore a new way to to practice social distancing for sev­ their public profile and make mon­ what was happening on the streets. challenges. For instance, in the first (teasing) and chang (singing) also express them,” says Li. eral months during the pandemic, ey, as viewers like Zhong observed. The performances usually feature episode, participants were asked to get tested during the role­play. She adds that when some specific it’s a rare chance for the members to In this sense, the show has provided two comedians, clad in traditional search in different rooms for clues Li Xiao, producer of the show, terms of the traditional art appear stay together and even play games, a good chance for these performers robes, standing behind a wooden that represent a certain story struc­ believes that it’s an innovative way to on the show, related explanations noting that “the show offers a team­ to be seen by a wider audience, table and engaging in witticisms. ture to which the performers can combine outdoor reality shows with will pop up, aiding viewers, who are building experience for the troupe”. while also honing and displaying Other versions, with one person, a add more details and punchlines indoor cross­talk performances. not familiar with the art form, to “I hope the personal charm we dis­ their specialty skills.