The Market, Ideology, and Convention Jingju Performers’ Creativity in the 21St Century Li Ruru

Home , Cheng Yanqiu, Convention (norm), Dan role, Mei Lanfang, Shi Yihong, Xun Huisheng

The Market, Ideology, and Convention Jingju Performers’ Creativity in the 21st Century Li Ruru

Driven by the imperatives of a changing society and the pressures of new technology, China’s theatre is undergoing continual transformation, both in its performance and understanding by practitioners and in its reception by audiences. Jingju (known in the West as Beijing Opera) — a highly stylized theatrical genre founded on specific role types and spectacular stage conventions — is no exception to this process. As new media devices and possibilities appear at an unprecedented pace, these developments afford artists tremendous choices and fundamentally alter not only what constitutes theatre but also the mentality of practitioners and spectators. Since the nadir of the Cultural Revolution, a more than tenfold increase in gross domestic product has made China a powerful voice in the global capitalist community and a generous benefactor of its theatre. The budget for starting a stage show can now easily reach around five million RMB (about US$800,000). “Forging exquisite productions” (dazao jingpin) to obtain

Figure 1. Ailiya (Shi Yihong) dances for her beggar friends. Shanghai, 2008. (Courtesy of the Shanghai Jingju Theatre)

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132 Li Ruru upright official Yu Chenglong remains unanswered. was invitedtoperformYu Chenglong totheZhejiangChangxingcounty-levelleadership forming foruniversitystudentsoncampus)orbythelocalauthorities. Thus whentheSJT might befilledonlyatfreeperformancesorganizedeitherbythetheatre(forexample, per terous outcomesas, oneafteranother, newplaysarestagedinsparselyattendedauditoria. Seats ket, ideology, jingju’sconventionalization, andtheperformers’creativityoftenyieldsprepos- high-spirited change. new plays. This conceptof “re-form” resonatedwiththeearly20thcentury’spenchantfor to recreateexistingstageconventionseitherrevitalizetheoldrepertoryorpresent damental characteristicremainsthemixingofdifferentstyles(LiRuru2010b). dance, andtheatregenres(MaShaoboetal. 1999:71–110;Mackerras1972:161–69), jingu’sfun- the 19thcenturyasanewtheatricalamalgamationcreatedbyre-formingpre-existentmusic, led practitioners, critics, andaudiencestoforgetjingju’srebelliousbeginnings. Originatingin However, atendencytoconcentrateontherichnessofitsconventionsandpatterns hasoften over 1,000. “education incleangovernment” (liangzhengjiaoyu) novel mer isanewlywrittenhistoricalplay;thelatteranadaptationof Victor Hugo’s19th- Development ofJingjuinShanghai” symposiumin1997, Young People.” Muchdebatedfromthe1990sonwards, andthetopicof “Strategy forthe young peoplewhoarenewtothegenre: “Jingju Marching Ten Thousand Miles” and “Towards running twoprojectsaimedatbringingtheShanghaijingjutoalargeraudienceincluding Since 1996theShanghaiJingju Theatre (ShanghaiJingjuyuan, SJT), forinstance, hasbeen ences despitecampaigns, startingasearlythe1990s, topromoteitamongyoungpeople. 30 yearsago. so thefundingenablestheatre, includingjingju, todothingsthatitcouldnothavedreamedof national prizesseemstobetheultimateobjectiveofalltheatrecompaniesandlocalauthorities,

and regards regular asessential toheracademicwork. [email protected] contactwiththeperformance jingju performer. Having received somebasictraininginBeijingOpera asachild,Li workshops runs (Shanghai Renmin Chubanshe,2010).Thelatterisapictorial biographyinChineseofhermother, a touliang deyu:Li Yuru wutaishangxia/jiatingneiwai[Translucent Jade: Li Yuru onStage andinLife] Creativity andContinuityintheChanging World (Hong Kong University Press, 2010),andJingying indigenous song-and-dancetheatre). Her recent booksincludeThe Soul of Beijing Opera: Theatrical China Shakespearean inChina(includingamonographShashibiya: Staging performance Shakespeare in Li isSenior Ruru Lecturer inChineseStudies atLeedsUniversity, UK.She haswrittenextensivelyon 3. 2. 1. Two productionsstagedbytheSJThelptoaddressthisquestion:LianliYu Chenglong (The Jingju’s capacitysinceitsinceptiontoassimilatedifferentstylesencouraged Jingju practitionersbelievethat “conventionalization isthesoulofjingju” (Li Yuru 2006:24). Behind thisfaçade, however, therealityisperilous. Jingjuisfailingtoattractsufficientaudi- the Xia Brothers, and others; see Li Ruru 2010b:41–47) had a great impact on the emergence of modern drama. Around the turn of the 20th century, a series of reformed jingju productions (such as works by Wang Xiaonong, All Chinese names are written with family name first and given name second. wise noted. Bureau, Chinese Foundation of Jingju (Zhongguo Jingju Art Yishu Jijinhui, established in 1992), the Shanghai Cultural (Zhenxing Jingju Zhidao Weiyuanhui, established in 1992) under of the Culture,aegis of the Ministry the The symposium was held from 25–29 March 1997, organized by the Guiding Committee of Jingju Promotion , Hong Kong University Press 2003)andonChinesetheatre spokendramaand (bothmodern Notre-Dame de Paris ( Wenhui Daily, and the Shanghai Jingju Theatre. are All translations in this article my own unless other- 3

The Hunchback ofNotre-Dame). The pushandpullbetweenthemar 2 ; 2002), andShengmuyuan(Notre-Dame;2008)(fig. 1). Thefor — one performance drew an audience of one performancedrewanaudienceof 1 thequestion “What canjingjudo?” performers century century — - for for - - 21st-Century Jingju 133

5 actresses laosheng development development in their efforts to ) with its “tall, big, big, “tall, ) with its or Beijing style) has — ) and “plays in episodic instal- episodic in “plays and bujing) jiguan in this issue.—Ed.] issue.—Ed.] this in jingju. jingju. yangbanxi His connection with left-wing intellectuals and a product of Shanghai culture. a product of Shanghai culture. 6 — 4 ) in jingju (Goldstein 2007:119–29). About 50 years later, the power later, About 50 years (Goldstein 2007:119–29). ) in jingju an essential characteristic of the genre’s tradition an essential characteristic ) central characters. Ironically, ultra-leftists used jingju’s ability to jingju’s ability to ultra-leftists used Ironically, quan) central characters. ) in which each performance is an entire story in itself, with a cliff-hanger ending drawing drawing ending cliff-hanger a with story performancewhich each in ) entire an is itself, in — da, ,

or Shanghai style of jingju (as contrasted with the jingpai haipai or Shanghai style of

Typical haipai approaches include “machine-operated stage scenery” ( scenery” stage “machine-operated include approaches haipai Typical benxi (liantai ments” audiences to the next episode. next the audiences to Zhou like masters jingju not or whether and jingju Shanghai-style the judge to how debate to continue Scholars Fu and (1997) Man He (1997), Zaimin Huang See style. Shanghai of representative as to be referred can Xinfang (2005). Jin For further discussion of the model theatre, see Denton (1987:119–36); Chen Xiaomei (2002:73–122); Li Ruru Ruru Li (2002:73–122); Xiaomei Chen (1987:119–36); Denton see further theatre, model the of discussion For article on Ludden’s Yawen the also [See (2010b:155–88). The Following the “forward-looking” vogue for modernizing (Li Ruru 2010b:276), Mei Lanfang Mei Lanfang (Li Ruru 2010b:276), vogue for modernizing “forward-looking” the Following In addition to newly created plays, the Shanghai-style jingju staged the same traditional rep- the Shanghai-style jingju staged the same traditional In addition to newly created plays, While Shanghai was neither the political nor the cultural center of the nation, it was pre- it nor the cultural center of the nation, While Shanghai was neither the political Qilin Xinfang (1895–1975; his stage name, The founding president of the SJT was Zhou At first, haipai was a derogatory term referring to performers who ingratiated themselves haipai was a derogatory term referring to performers who ingratiated themselves At first, 5. 6. 4. commenced his bold formal experiments in the early 20th century leading to the 20th century leading in the early his bold formal experiments commenced of more acting styles (pai of more acting product ever to most bizarre cultural into existence the of the state brought and resources theatre (yangbanxi revolutionary model the Chinese stage: the appear on (gao and perfect” Chenglong and Notre- both Yu which produced The SJT, been particularly forward-looking. companies in the country. itself from the over 80 other jingju used haipai to distinguish Dame, assimilate diversity eliminate traditional culture. eliminate traditional Yet eventually, even the conservatives admitted that the Shanghai style represents a daring, admitted that the Shanghai style represents a daring, even the conservatives eventually, Yet innovative approach to jingju. the Beijing and Shanghai style lay in the portrayal of The differences between ertory as jingpai. and displaying acting, speaking, and the ways of singing, the arrangement of scenes, characters, 1999:27); et al. (Ma Shaobo “suit the local customs” Haipai altered the repertory to martial arts. it was market-driven and audience-centered (singing male role) actor of the Shanghai style. eminent in finance, media, publishing, modern drama, film, literature, and fine arts. Shanghai’s and fine arts. literature, film, modern drama, publishing, media, eminent in finance, reflected in haipai productions that submitted non-central but non-marginal position was persisting in challenging the ortho- to the Beijing style while consciously or subconsciously closer to jingju’s beginnings when it had been the Shanghai style was dox jingju. Interestingly, in the SJT further developed this practice of assimilation keen to assimilate different styles. 21st century. and he held the position child starting to act on the stage), was a pun for a seven-year-old Tong, He was the most famous until the beginning of the Cultural Revolution (1966–1976).

Shanghai Jingju Theatre and Shanghai-Style Jingju Jingju Theatre and Shanghai-Style Shanghai Jingju which reflects the artistic strategy, where the SJT is based determines its The geographical area while still following the cul- organization can sometimes be allowed freedom that an artistic became the most important focus Shanghai Party and the government. tural policy of both the including 19th century onwards because all the stars, for jingju outside of Beijing from the late industry were widely promoted by the burgeoning market-driven entertainment Mei Lanfang, jingju where reformed jingju developed and where Shanghai, in this cosmopolitan city. first appeared onstage, was also the home of haipai first appeared onstage, with the audience by showing off, ignoring the tradition, or using new stage devices excessively. ignoring the tradition, with the audience by showing off, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28September 2021

134 Li Ruru (SJT 1980). InJingjuStage, Litoldheraudiences: featured a “Mailbox from/toaudiences, whichwill actasthebridgebetweenaudiencesandus” wutai guidance, CompanyNumber Three publishedasimplenewsletterinJanuary1980titledJingju appointed artisticdirectorofCompanyNumber Three intheSJT, feelanxious. Underher cinema, thisapproachmeanstogroundthestylizedactinginsoilofreallife. “audience-centered” isnotmerelytocatertheaudience. Influencedbyspokendramaand Li pointstoasignificantaspectthatmostdebatesontheShanghaistyleofjingjuignore. To be After describingafewscenesindetail, Li Yuru goeson: cussion, movements, andspeakingonthebasisofcharactersituation. Liwrote: acter’s realfeelingsunderthespecificcircumstances, andthentomodifythepatternofper Xue Pinggui, LinotedthatoneofthefeaturesZhou’shaipaistylewastoconsiderchar (Saying goodbyeinfrontofthecave)whichsheplayed Wang BaochuanalongisideZhouas how stylizedconventionscouldbelinkedwithreal-lifefeelings. ReferringtothesceneBieyao former, wasgratefultoZhou, withwhomsheworkedfrom1946, forhelpingherunderstand training intheBeijing Theatre Schoolwhohasbeenregardedasatypicaljingpai-styleper artists inspokendramaandthefilmindustryhadagreatimpactonhisstyleofacting.

Xinfang’s influencewentbeyondthemalerole. Li Yuru, 8. 7. boy andthecountrygirl). Audiences wouldnolonger becontent. This waswhyIchose tional repertory, suchasShiyuzhuo(Pickingupthebracelet)and Xiao fangniu (Theherd ences withanewlook. Iwouldfeelletaudiencesdown ifImerelyperformedthetradi- I alwayswanttocreateafewmoredifferentcharactersonthe stage, meetingmyaudi- It wasthisaudience-centeredconsciousnessthatmadeLi Yuru in1979, atage57, thenewly (2008:342) audience. meaning andwithoutlife, evenuniquetechniquesaredeadandcannevermovethe singing, steps, gestures, andmovementsdemandhighlyskillfultechniques. [...] Without forming artisbasedonlife, butisexpressedbystageconventions. All theaspectsofhis stood thecomplementaryrelationshipbetweenlifeandstylizedacting. Zhou’sper the Shanghai-styleQi(ZhouXinfang)school. Acting withMr. Zhou, Igraduallyunder times, and “Saying GoodbyeinFrontoftheCave” becameoneofthesignatureworks ter fullyandwithliveliness. Audiences nevergotboredevenafterseeingthisscenemany Xue Pinggui’sthoughtsthoroughly, whilehisactingskillsenabledhimtoactthecharac- feeling. Duetohisabilityfor “entering theatre,” Mr. Zhouunderstoodthecharacter immediately. The emotionsoftheaudiencefollowedalterationscharacter’s These lines, matchedwithbeautifullychoreographedmovements, grippedaudiences ing, toconveythecharacter’sinnerworldthathe(asanactor)felt. (2008:333) he canfreelyemploythestageconventionsofsinging, speaking, acting, expressing, danc- and situationusesthisunderstandingasthebasisofacting. “Exiting” meansthat “Entering” meansthatheempathizeswiththecharacter’sfeelingsinparticulartime The secretofMr. Zhou’sactingisthathecanenterthecharactersandexitaswell. (Huadong Xiqu Yanjiuyuan) (see Li Ruru 2010a). atre was one of the companies under the aegis of the Eastern China Research Institute of Indigenous Theatre Xun Huisheng and Zhao Tongshan. Recommended by Zhou Xinfang, Li joined the SJT in 1953 when the the- one of the founders of this school. After graduation, Li was a disciple of three famous male dan: Mei Lanfang, Zhongguo Gaoji Xiqu Zhiye Xuexiao). Cheng Yanqiu, one of the Four Great [Male] Dan (sida mingdan ), was Li Yuru studied the dan his stage name: Qilin Tong. In jingju circles, the Zhou Xinfang style is referred to as the Qi style, drawing from the first written characterof JingjuStage)to “offer audiencesinformationaboutourrehearsalsandperformances.” It ( role (1933–1940) from male masters at the Beijing Theatre School (Beipingshi 8 adan(femalerole)actorwithsolid - 7 Zhou - - - - 21st-Century Jingju 135 )” (Ma )” winner increasing In addi- 9 ). A policy of “model opera only” soon soon only” opera “model of policy A ). . Shanghai, 1980. (Courtesy of the Shanghai (Courtesy1980. Shanghai the of Shanghai, Lion. Mirror (painted-face) roles, a specialist in jing (painted-face) roles, Shang Changrong, Figure 2. Jingju actors needed to adjust their movements and their way of of way their and movements their adjust to needed actors Jingju 2. Figure and costumes of style Japanese the accommodate to singing and speaking in kneeling the Jingju Theatre) roles when he was 10 years old. He is a three-time He is a roles when he was 10 years old. 10

exemplify how the SJT developed its own style based on exemplify how the SJT developed its own and Notre-Dame Chenglong Yu jingju and its desire to link jingju “with the [rail] track of the world (yu shijie jiegui jingju and its desire to link jingju

” which has the connotation of being “clean,” i.e., not corrupted.not i.e., “clean,” being of connotation the has which lian” Both In 1964, two years before the Cultural Revolution, jingju and other indigenous theatres began to be regulated by by regulated be to began theatres indigenous other and jingju Revolution, Cultural the before years two 1964, In [of] “staging the requiring policies xiandaixi (dayan contemporary theme” followed, and it was not until 1978, two years after the official end of the Cultural Revolution, that the Party the that Revolution, Cultural the of end official the after years two 1978, until not was it and followed, onstage. again appear to classics the allowed only they yet “honest official,” and official” “disinterested title: play’s the of translations existing two are There word Chinese the convey really not does “upright” of choice my Even meaning. original the capture incompletely “ to stage the [kabuki play] to stage the 2]. fig. Jing shizi [Mirror lion; play on Putting a Japanese stage will no doubt the jingju But I feel our be difficult. has the respon- generation - sibility to be the connect jingju carrying the ing link, if we [...] I think art forward. absorb the artistic nutrition help from outside we may Yuru (Li jingju develop fully. 1980:1) Li’s experiments derived 1980s brought immense and rapid changes not China’s open door policy that began in the The Upright Official Yu Chenglong, The Upright Official 9. Ke 1997:349). Ke 1997:349). haipai tion, the influx of an unprecedented variety of entertainments available via film, television, and television, the influx of an unprecedented variety of entertainments available via film, tion, the SJT drew inspira- Faced with such a predicament, the internet further challenged jingju. emphasizing the openness of its which it promoted as its signature brand, tion from haipai, 2000:96–119; Li and styles (Wichmann-Walczak repertory and embracing its diverse elements Zhongcheng 1997:22–24). from several sources: from her from several sources: Theatre education at the Beijing School; from the haipai she was exposed to working with Zhou Xinfang; and from her own anxi- ety about jingju’s future after the Cultural Revolution. like all other the- Jingju, but also to artistic sectors. only to the economy and society structure learn to deal with financial pressures and ever- suddenly had to atres in the country, globalization. Although it had been the most popular genre in the market before 1949, jingju most popular genre in the market before 1949, Although it had been the globalization. and economic realities after more than three could not cope with the fast-changing social ideology and supported by the state-subsidized sys- decades of being strictly controlled by the of the traditional repertory over the 15 years from 1964 the disappearance Furthermore, tem. of indigenous theatrical traditions. to 1978 left an audience who lacked knowledge

Upright Official Yu Chenglong Shang Changrong and Upright Official In 10. played the eponymous hero. Shang, the third son of Shang Xiaoyun, one of the Four Great Dan the third son of Shang Xiaoyun, Shang, played the eponymous hero. started studying jing (sida mingdan), Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28September 2021

136 Li Ruru play totheSJT. Itaccepteditimmediately. Caoand Yang Xiu, it successfullyatanationallevel. Turned downbyBeijing’sjingjucompanies, Shangofferedthe saw thepotentialofplaybutfeltthatShaanxiCompanywouldnotbeabletoproduce discovered ascriptaboutthehistoricalfigureCao(155–220)writtenbyChen Yaxian. He Xiehui) in2010. elected aschairmanoftheNational Association ofChineseDramatists(ZhongguoXijujia 2002), wasrecognizedasapersonof “State-level IntangibleCulturalHeritage,” andwas re- of thePlumBlossomPrizeforChineseDrama(ZhongguoXijuMeihuajiang1985, 1995, and 14. 13. 12. 11. mented bytheSJT: the SJT’sreform, provingtheeffectivenessofthreetacticalinnovations, whicharestillimple- become theShang Trilogy, premieredin1988andmarkedthemost importantachievementof development. The centralrelationship trayed asrealpeopleintoday’ssensewithcomplexhiddenthoughtsandconvincingcharacter 220), knownastheperiodof Three Kingdoms, butbothCaoand Yang Xiuwerepor Ailian 2011). after watchingtheproductionbecausetheysawtheirownlivesinthisnewhistoricalplay(Lü experienced thepoliticalcampaignsofsecondhalf20thcenturystayedupallnight Company Number Two, whichstagedtheplay, recalledthatthoseolderintellectualswhohad Festival ofNewJingjuPlaysin1988. Lü Ailian, thethenDeputyDirectorofSJT’s existence today” (2007:111). ated inthe20thcenturyanywhereworld, and[...] certainlyoneofthefinestjingjuin Elizabeth Wichmann-Walczak hailedthisproductionas “one ofthefinestpiecestheatre cre- formed afterthecrackdownon1989Beijing Tiananmen SquareDemocracyMovement. political conflictsbetweenthepowerfulleadersandintellectuals, especiallywhenitwasper ity amongthegeneralspresentedaseriousthreattoruler to consolidatehiskingdom, and Yang, awiseandvirtuousministerwhoseincreasingpopular Shang workedwithhisfatherintheShaanxiProvincialJingjuCompanyuntil1987, whenhe 3. 2. 1. On the general creative process of the SJT, see Elizabeth Wichmann-Walczak (2000:96–119). production. They are as the technique directors mainly older andexperienced actors who sometimes serve for a particular makes orchestral arrangement. for the production. musiciansThe and second type is the atmospheric composer whoworks with the primary accompanying songs) players, who, following jingju musical modes and patterns, work certain out the sung music Two types are involved. musicians,mainly the The first consists of primary was awarded the grand prize at the National Festival of Jingju (Zhongguo jingju Art Yishujie). Chinese Indigenous Theatres (Zhongguo Xiqu Xuehui, established in 1987); and in 1995, Huiyan) organized by of Culture; the Ministry in 1989 it received the Award of the National Association of In 1988, it was named an Outstanding New Jingju Play at the Festival of New Jingju PlaysXinjumu (Jingju The storylinewasbasedonthecharactersandincidentsinformationperiod(c. 208– The

designers, composers, To organizea “creative group” consistingofmusicians, performers, directors, playwrights, To seeksuitablescripts; division, forexamplefromaprovincetoShanghai; moving residence], particularlymovingfromalower- toahigher-level administrative or anyproblemposedbythehouseholdregistrationsystem[whichpreventspeoplefrom obstacles suchasarefusalbythetheatreorlocalauthoritieswhereperformerisbased, To secureexcellentperformers, utilizingallkindsofconnectionstoovercomepotential Cao Yang playreceivedasensationalresponsewhenitpremieredin Tianjin atthe 12 experts, 13 — theatrecritics, andartsadministrators. between Cao, apowerfulrulerseekingworthymen — paralleled thecontemporary (the main musical instrument huqin (the main musical instrument 11 thefirstplayinwhatwould Cao Cao and Yang Xiu 14 - - -

21st-Century Jingju 137 the 15 As a Yu com- Yu shengshi 16 —

script gave the SJT a script gave the SJT a who call him “Grandpa Yu” and “Honorable Yu” “Honorable and Yu” “Grandpa who call him — qualities. qualities.

Selected Plays by Li Zhongcheng (2005). Li by Plays Selected

The final two productions of the Shang Trilogy were created differently. Zhenguan were created differently. Trilogy of the Shang The final two productions Guojia Wutai Yishu Jingpin Gongcheng was launched in 2002, sponsored by the Ministries of Culture and and Culture of Ministries the by sponsored 2002, in launched was Gongcheng Jingpin Yishu Wutai Guojia five within productions exquisite 50 produce to aimed they RMB, million 40 of budget annual an With Finance. acrobatics. and forms), modern and traditional both (in dance music, drama, including years text the used I Zhongcheng. Li and Yongshi, Wang Yinglu, Dai Bo, Liang people: four by written was script The from This success did not occur by chance. Shang, 47 years old, was not happy confined in a pro- happy confined in was not years old, 47 Shang, did not occur by chance. This success period (Ma “most hungry” its the SJT was in state subsidies were cut, when Meanwhile, ’s plot is drawn from a novel by Wang Yongtai (1998) and a TV series (2000) (1998) and a Yongtai Wang ’s plot is drawn from a novel by Chenglong Yu (The heyday of the Zhenguan period: 627–650; 1999), commemorating the 50th anniversary commemorating period: 627–650; 1999), (The heyday of the Zhenguan production with extravagant dances was a the People’s Republic of China, of the foundation of (SJT Tang dynasty” style of the great “magnificent meant to display the and huge crowd scenes Art program, Exquisite Productions of the Stage Amply supported by China’s 1999:n.p.). vincial company, and saw the great potential of this new script. His political sensibility had political sensibility His this new script. great potential of and saw the vincial company, witnessed the pub- Revolution when he during the Cultural by experiences been sharpened jing-role actor 26-year-old A promising his celebrated father. and torture of lic denunciation term (figurative “black” theatre due to his in the become the lowest-of-the-low had suddenly that play mirrored historical Cao Yang The background. family for counterrevolutionary) ruthless reality. jingju had lacked strong actors of Shanghai’s genre, a performer-centered In Bomin 1997:7). the Cao Yang The arrival of Shang Changrong with jing roles since 1949. perfect opportunity to create a new Shanghai jingju, one that was no longer haipai, although it was no longer haipai, one that create a new Shanghai jingju, perfect opportunity to had inherited some haipai 15. 16. mences his challenging new task still wearing his old jacket and smoking an old pipe. consequence, fields and houses have been abandoned and the whole province is in turmoil. in turmoil. fields and houses have been abandoned and the whole province is consequence, In addition, that the old cases must be retried and the innocent must be released. realizes Yu need to be reduced and the economy developed. the heavy taxes imposed on the population suggests that the previous decision endorsed Chenglong Yu Disregarding his personal safety, a man Prince Kang, and advises the emperor’s brother, by the emperor should be overruled, a tax reduc- to release the prisoners and to ask the emperor for with supreme power in Fujian, women, the elderly, particularly also makes every effort to save the poor from danger, Yu tion. touched by the the arrogant Prince and cunning officials are profoundly Finally, and children. of soil collected from every place where he has only possessions are parcels Yu’s revelation that Yu honoring him as his bows in respect to The play ends happily: the Prince worked (fig. 3). (Li Zhongcheng 2005:204); while the evil together” “serve the country tutor and vows they will to enjoy a As local people begin Yu. officials learn their lesson and kneel down to apologize to Amid lin- Chenglong is promoted to inspector in charge of the capital. Yu comfortable lifestyle, gering farewells from the people play promoted the theme: “A wise ruler and virtuous ministers can together build a flourishing wise ruler and “A play promoted the theme: the ruler took criticisms willingly; and everyone was age if the ministers advised frankly while and aspired to make the country prosperous” refrained from high living, vigilant in peacetime, a film and in 2009 premiered in 2002, Trilogy, the last play in the Chenglong, (SJT 1999:n.p.). Yu was a historical figure to whom the Chenglong (1616–1684), Yu The hero, version was released. “clean and honest.” Kangxi Emperor granted the title honest Qing official assigned to Fujian province, an Chenglong, Yu adapted from the book. with callous disre- “anti-crime campaign” a so-called discovers that his predecessor conducted with the court, who had a close relationship official, The corrupt former gard for human life. having been 3,000 of whom face imminent execution, imprisoned nearly 10,000 local people, (Li Zhongcheng 2005:168). “collusion with the enemy on the sea” falsely convicted of Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28September 2021 138 Li Ruru worked for. Shanghai, of the Shanghai 2006. (Courtesy Jingju Theatre) Figure 3. Yu sings how the soil reminds him of the places and people he has decide onadrinkingcontestwith thefollowingterms:IfPrinceloses, hewilllet Yu release retry theunjustifiedcases. Afterwaitingforalongtime, Yu entersthehallandfinally two ceited Prince, busyentertaininghisguests, refuses tosee Yu, whocomesseekingpermissionto 17. Kang; these “two chapters” seemingly nondramaticconflictisdramatizedbytwowine-drinking contestsbetween Yu and noble behavior. The wholestoryuptothispointhasnodramatictensionatall. However, the his Kang seemsarrogant, butinsidehewantstobuildastrong country. Hehasbeendeceivedby that theunseencorruptpredecessorismainantagonist. Inhisoutwardactions, Prince praised theworkforbeing “against corruptionandpromotingmorality.” Hesaid: (Zhonggong ZhongyangJilüJiancha Weihuanhui), attendedthereleaseoffilmversionand propagandize theCommunistprinciples. ductions about “upright andhonestdynasticofficials” (qingguanxi tion Both thePartyandgovernmentsaytheyaretryingtosolveproblemofcorrup- Yu Chenglongemphasizesthatboththesupremerulerandoverallsystem aregood, and members andtheircadre. (Zhang Yu 2009) corruption, [suchworks]educateandinspireawide-ranging audience, especiallyParty and spiritualfoodstuff. Contributingtothepromotion ofaculturalconstructionanti- sow theseedsandgrowforestofanticorruptionofferaudiencesaculturalfeast torical materialsandusethemfully. Through themodernartisticapproach, [suchworks] Artistic worksshoulddigoutandcombthroughtheelementsagainstcorruptioninhis- Li Yufu, Deputy SecretaryoftheCentralCommissionCCPforDisciplineInspection corruption andbuildingacleangovernment. (in Watts 2011) plexity andarduousnessofthefightagainstcorruption, andmakemoreeffortsinfighting and support. The entirePartyshouldstayalertandfullyappreciatethelong-termcom- emphasize its narrative quality. Instead of organizing the play through conventional “scenes,” the playwrights divided the work into “chapters” to subordinates LeChun, KaLin, andothers — even thoughofficialsareoftenthecauseofproblem. Yu Chenglongandotherpro- 17 constitutethecoreofproduction. Inthefirstcontest, thecon- — yet eventhesebadofficialslearnfrom Yu’s all Partymembers: Party (CCP), HuJintaowarned tion oftheChineseCommunist 90th anniversaryofthefounda- 2011ofthe ebration on1 July ity andunrest. At thelavishcel- future andfuelssocialinequal- tion threatensthecountry’s in Chinaknowsthatcorrup- of ordinarypeople. Everyone Party’s ideologyandtheplight ence inmind, awareofthe but alsowithaparticularaudi- tinuity” (Lindenberger1975:10) with “the senseofhistoricalcon- the playwasnotonlycreated ) serveasausefultoolto will losethepeople’strust solved effectively, theParty If corruptiondoesnot get The storylineillustratesthat 21st-Century Jingju 139 . Shanghai, 2006. 2006. Shanghai, Chenglong. Yu noble, uncorrupted, uncorrupted, noble, — resurrected on the stage. Our time resurrected on the stage. — are turning over a new leaf. — ” readily finds blogs from spectators praising readily finds blogs from spectators praising ” Figure 4. The end of the first wine contest in contest wine first the of end The 4. Figure Theatre) Jingju (CourtesyShanghai the of in the world of the play, at least in the world of the play, —

Treating a serious topic light-heartedly or even absurdly has been very much the trend on been very much the or even absurdly has topic light-heartedly a serious Treating YU: If good people say and bad people you’re good, you are not say you’re bad, If bad people say bad at all. you’re good while good people say you’re bad then you cannot really be good. for either good Actually, only people or bad people, four characters [of Chinese writing] matter. KANG: Which four characters? (Li Zhongcheng 2005:174) heart. good, earth, YU: Heaven, If the state might be controlled but will fall into chaos. If people control other people, the state might be chaotic but it will be stable. (205) people control themselves, Yu Chenglong “jingju Yu An internet search for Let’s thank them! It is these performers who make Yu Chenglong Yu Let’s thank them! It is these performers who make upright, and wholeheartedly working for the people and wholeheartedly working for upright, Wangyi Blog n.d.) (Wangyi Chenglong urgently. Yu Chenglong; our time needs Yu calls for Chenglong exemplifies the SJT’s desire to ingratiate itself with both audiences and the Yu the Chinese stage since the end of the Democracy Movement. Audiences like to be amused. like to be amused. Audiences of the Democracy Movement. stage since the end the Chinese The singing by artists. and is thus avoided is not permitted the government Directly attacking and the beautifully choreographed music and percussion accompaniment, the expressive duet, Chenglong’s comic Yu 4). (fig. wine contest scene extremely entertaining movements make the Yet despite the farci- plays. “upright and honest official” from most other scenes distinguish it and supportive shouts from lines in the scene always receive loud applause a few cal elements, stopping because the audience, very few corruption is one of people concerns that ordinary One share with the authorities. applauded exchange that is often wine occurs during the first contest: indeed corrupt officials and “conscience,” The last two characters (liang and xin) are a pun on often elicits support from the audience occurs near the Another line that have no conscience. end of the play: However, in the second wine contest scene. Yu These lines in the printed script are delivered by offi- one of the ill-behaved to Le Chun, Yu written by they appear in a letter in the production, the performance emphasizes that read out these words, By making the corrupted official cials. all bad officials all the prisoners, including those due to be executed, and he will ask the emperor to reduce the the emperor to reduce and he will ask due to be executed, including those all the prisoners, to crawl back to his and will have will retract his requests Yu If the Prince wins, region’s tax. on top of his head. with the wine jug the Prince’s residence home from this production: Yu Chenglong to the level of Exquisite Productions of the A huge grant elevating Yu authorities. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28September 2021

140 Li Ruru Theatre) Shanghai, of the Shanghai 2002. (Courtesy Jingju he conventional Figure 5. Shang a Changrong performing Without thepaintedfaceandbeard, Shanghadtopayfarmoreattentionhisfacialexpres- style offeredShangthechancetodifferentiatecharacterfromconventionaljingrole. tional robeswithlongsleevesashehadbefore. Rather, thecharacter’sthriftyandplainlife- Yu Chenglong(SunChongliang 2008). As aQingofficial, Yu wouldnotwearjingju’sconven- Ying, anexperiencedphotographerworking fortheXinminEvening Post, suggestedheplay Changrong waslookingforaroleinwhichhecouldgobeyondwhathaddonebefore. Chen tumes suchasheavilyembroideredgowns, longsleeves, andhigh-platformboots three essentialsforatraditionaljingrole(figs. 5and6). ( Boldly departingfromjingju’sconventions, Shangdidnotuserhymedheightenedspeech organized theirmemberstoseethefilm. local divisionsoftheCommissionsChineseCommunistPartyforDisciplineInspection cial civicservants(Zhonghuawang2006). After thefilmversionwasreleased, moreand quoted abovewasoneofthecompositiontopicsin2006examinationforZhejiangprovin- agencies aspartofthe “education incleangovernment” and Yu Chenglong’slettertoLeChun realizing thatdesire. The productionwasfurthermoreperformedfordifferentgovernment Stage Art, aswellnumerousprizesandsoaringticketsales, indicateSJT’ssuccessthusfarin yunbai [Reconciliation of the general and minister]. Having playedtwoofficialsinCaoYang andHeyday Shang Changrongusedthecharacterof Yu Chenglongtodemonstratehisactingrange. ), nordidhewearalongfullbeardorpaintedface. These threerefusalschallengedthe jing role as Lian Po in Jiang xiang Shanghai Jingju Theatre) by Figure 5. Shanghai, of the 2006. (Courtesy challenges the conventional acting illustrated Shang Changrong created for that mark a painted-face role in jingju, the makeup Figure 6. Without and long beard the facial pattern — in whichheworeconventionalcos- Yu Chenglong — Shang

21st-Century Jingju 141 - - but 18 Yu Chenglong. (Li Chenglong. Yu —

Two characters stand facing each other as if on opposite sides of a big grindstone. Then, one actor walks in a in walks actor one Then, grindstone. big a of sides opposite on if as other each facing stand characters Two face-to-face. meet to circle half a making together counter-clockwise, other the direction, clockwise It is important to note how Shang’s Yu Chenglong differed from the characters in model Chenglong differed from the Yu how Shang’s It is important to note who wore Qing official attire and shoes, was in the presence of other officials Yu When Zhongcheng 2005:160) exaggerating jingju’s quality of letting time story is then told at an unusually fast pace, Yu’s This more natural acting and colloquial speech mirrored the innovative playwriting. The mirrored the innovative playwriting. This more natural acting and colloquial speech the road an old man of about 60 years in a plain outfit walks on More than 300 years ago, His firm steps to help the common people. full of willingness His eyes are deep, in Fujian. This is the hero of our play show that he is not afraid of any danger. (Story of the red lantern), who were also acted by painted-face actors, depicted actors, who were also acted by painted-face Hong deng ji (Story of the red lantern), 18. (Taking tiger mountain by strategy), or Sasayama by strategy), tiger mountain (Taking in Zhiqu wehushan Yongqi such as Li operas, in The main differ or beards. and without the traditional facial-patterns using colloquial speech All the model opera performers. and the rest of “hero” between the ence lies in the relation of the Qing dynasty and jingju is a man Yu In contrast, in the same way. characters were acted are in formal or official cos- especially when characters conventions, has particular Qing acting performing in the scene, his acting according to the other characters Shang adjusted tumes. imagines he is with Yu is with officials and in the scene where Yu where differently in scenes his wife. stylization and maintaining a balance between style, Shang acted according to the jingju Qing the jing His acting approached everyday life while never completely abandoning naturalness. because he His walk was modified movements. role’s codified conventions of arm and hand to his wife in Yu talks in the scenes where Yet, wore modified jing boots with lower platforms. fewer codified with “natural” he and his wife wore plain costumes; both were his imagination, the first encounter of the couple after a long separa- For example, movements and gestures. “push the grinder”), movement tuimo (literally, tion was expressed by a conventional jingju sions. In the wine contest scene, he invented a technique of “shaking cheeks” to show Yu’s way way Yu’s to show cheeks” “shaking technique of he invented a the wine contest scene, In sions. also tinged The singing was funny. of the cheeks was exaggeratedly The movement of drinking. of Shanxi folk melodies from Shanxi, was Yu the historical Because elements. with non-jingju with Shang even spoke From time to time, musical system. integrated into jingju’s songs were with more traditional suitable: interwoven were strange yet These elements a Shanxi accent. to the production’s that contributed a sense of naturalness they created jingju conventions, comic incongruity. and space flow freely. The use of modern lighting techniques also helps guide the audience The use of and space flow freely. Such an atypical opening pre- through the complexity of different scenes and entwined plots. pares audiences for an unconventional performance. the husband and wife stood closer together than the conventional tuimo specified, and the wife than the conventional tuimo specified, the husband and wife stood closer together and happy showing a moving also touched his face, but shoulders tightly, Yu’s not only gripped was still tinged with some exaggerated gestures match- the scene Of course, reunion as in life. use of differ Shang Changrong’s creativity shines through in his ing the exaggerated makeup. His acting is often referred to as a in the play. ent acting styles to react to different characters at home in the SJT. which makes him quite style,” “painted face with the Zhou Xinfang [haipai] The play opens with emphasized the narrative. structurally arranged in four chapters, script, a prologue: Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28September 2021

142 Li Ruru ing tango, rumba, andpasodoble. Sheplayed theeponymousheroineinShanghaiMusic Notre-Dame in2008shetookparttheShanghaiSemi-FinalDanceCompetition, present- acted Wen Xiuzhuinthe34-episode TV seriesWutai jiemei (Stage sisters). While Shakespeare’s Juliet;andKoharu-SanfromtheJapaneseBunraku puppettheatre. In2006, Shi who alldevotethemselvestolove: Yuji fromthe Gate, oneoftheplaysincomposer’sOrchestraSeries, whichportraysthreefemales Theatre beyond thedreamsoftraditionaljingju which offersatleastsomedegreeofpoliticalrelaxation, Shihashadopportunitiestodothings Theatre Arts (ZhongguoXiquXueyuan). selected toattendthepost-graduatecourse(1996–2000)atNational Academy ofChinese to performnewcharactersinplays. Shewasalsoamongthefirstgroupofstudentstobe reform. Manynewplayswerecreatedandyoungtalentsrecruited;Shihad young woman). parts (qingyi by criticsandaudiencesasanactresswhocanperformmostfemalerolesincludingsinging is necessaryforallmajoractors. LuhelpedShidevelophersinging, andsheisnowrecognized singing abilitycomesfirstamongthefourbasicskills. Exceptforthecomicrole(chou), singing ers specializinginmartialarts, Shi Yihong didnotreceivemuchvoicetraining. Yet, injingju, ment tojingjusongs), whotookascientificapproachtotrainingsingers. Likemostperform- tutor wasLu Wenqin, aplayerofthehuqin(atwo-stringfiddle, themainmusicalaccompani- Notre-Dame (2008). Shi Yihong, oneoftheSJT’sleadingactresses, wasthedrivingforcebehindproductionof and Shi Yihong 21. 20. 19. Jingju the May 7th Training Class ZhangMeijuan,One was originallyanactressattheSJTwhostartedherteachingcareerwhen used tothestretching, soIneverfeltpain,” shelaughed. Shehadtwogreattutorsinjingju. jingju training, asshetoldmeinourinterview(Shi Yihong 2010a). “Perhaps mymuscleswere pered” theimpactofrigorousexercisessothatshedidnotfear “torture” ofarduous the femalewarriorrole Shanghai Indigenous Theatre School(ShanghaishiXiquXuexiao, SITS)whereshestudied togymnastics.went on Sheturnedtojingjuwhenshewasten, afterbeingadmittedtothe Physical EducationCentre(ShanghaiGongren Tiyugong). After learningmartialarts, she ing beganwhenshewassevenyearsoldwiththemartialartscourseatShanghai Workers’ Main Shu 2011). type. (inPan “I’m boldenoughtotaketheriskoflosingmyfame. Imustalwayssurpassmyself” After graduatingfromtheSITS, Shi Yihong enteredtheSJTjustastheatreinitiated its Unlike Shang, Shiisnotfromajingjufamily. Sheisprobablytheonlyjingjuactressin SJT, was in the same course (see Li Ruru 2010b:189–214). went back to work with their own theatre companies. Yan Qinggu, an actor of comic role type (chou) from the English or Japanese, and weekly seminars on various subjects. For the remaining ten months of each year, they months each year, criticism, a wide range of activities, including practical undertaking master classes, literary Students from all over China were chosen through a strict selection process. They studied together fortwo 7 May 1966 (Mao Zedong 1998:53–56). Wuqi Jingxunban was named after Mao Zedong’s “May 7th Directive” on education, which was released on Gang 2011). projects. Theatre companies often apply for funds from the workingFoundation to start on productions (Feng under the aegis of the Municipal of Department Publicity, and literature arts which aims to raise funds to support her funds because it received a grant from the Shanghai Cultural Development Foundation, established in 1986 Shi Yihong personally raised money for this unconventional project although, ultimately, the SJT did not use land Chinawhohastrainedandworkedinotherperforminggenres. Shi Yihong’s train- ), womanwarriorcharacters(daomadanandwudan),huadan role(vivacious andthe 19 Notre-Dame LikeShangChangrong, Shiwantstogobeyondtheboundariesofarole (wudan). Shifeltthathermartialartsandgymnasticstraining “tem- 20 wasorganizedduringtheCulturalRevolution. Shi’sother actors. In2000, Shiperformedin Tan Dun’sThe 21 As aperformerintheneweraofglobalization, jingju Bawang bieji(Farewellmyconcubine); opportunities rehearsing 21st-Century Jingju 143

23 Figure 7. Lady White, a snake spirit, meets her sweetheart Xu Xian on the Broken Broken the on Xian Xu sweetheart her meets spirit, snake a White, Lady 7. Figure 2009. Hall, Opera Centre, Arts Oriental Shanghai, Lake. Western the of Bridge Jiang) (Courtesy David of and 22 is the title, the play just refers indeterminately to a “divine temple,” “divine temple,” the play just refers indeterminately to a is the title, Notre-Dame

This production toured Germany and Spain in 2007, France and Germany in February per- then was and 2008 in Germany and France 2007, in Spain and Germany toured production This Festival. Edinburgh 2011 the at formed Ruru (2012). Li and (2011) Evans contemporary-themed this in see can interested production are who Those Inspired by the success Inspired by the success Ailiya, the Chinese Esmeralda, is an orphan brought up by the King of Beggars. In the adap- orphan brought up by the King of Beggars. is an the Chinese Esmeralda, Ailiya, dances and sings so well that she attracts a large crowd, Ailiya At a gathering of the beggars, Hugo’s novel Victor serves as a model of globalization: traveling from de Paris Notre-Dame 22. 23. with Western audiences of the audiences Western with SJT’s adaptation of Hamlet (for the 2005 Hamlet Sommor in Kronborg Castle in Denmark and then at the National Opera House in Amsterdam) Conservatory’s 2009 produc- Conservatory’s tion of Bai Niangzi (Lady White; large which employed a 7), fig. together with onstage orchestra and was well effects, multimedia the Shanghai Expo. received at a jingju DVD she made In 2010, Western accompanied by a the 2011 and during orchestra, Spring Festival she performed - Suo ling nang (The embroi piece a signature dered reticule), repertory, Yanqiu’s from Cheng vocal which demands skillful techniques. an anecdote that Mei Lanfang had once advised his student Yan Huizhu (1910–1966) to act Yan his student an anecdote that Mei Lanfang had once advised , Notre-Dame Shi persuaded the SJT to work on a jingju adaptation. ), Esmeralda (in Notre-Dame (a director with Yukun Hamlet) and directed by Shi scripted by Feng Gang (who also adapted directing work was Luotuo Xiangzi [Camel Xiangzi]), a jingju background whose most famous premiered in October 2008 at the Shanghai International Arts Festival. Arts Festival. International premiered in October 2008 at the Shanghai particular reli- both time and place are left unspecified in order to avoid identifying any tation, Although gion. too alien to Chinese audiences. because translating the French directly sounds woman Abbot Luo (Claude Frollo) who falls in love with the pretty but wild young including Ailiya is When her. Abbot Luo instructs his adopted son Ugly (Quasimodo) to kidnap 8). (fig. she believes the general of the local battalion, (Phoebus de Chateaupers), Tianhong rescued by tryst at an Learning of their and future husband. that she has at last found her true sweetheart Ailiya of falsely accuses thinking he is dead, and, Tianhong Abbot Luo severely wounds inn, of the sympathy she had previously shown Ailiya because in gratitude to however, Ugly, murder. Like Phoebus in the Ailiya from the execution site and hides her in the temple. rescues him, Ailiya is relieved to While Ailiya again. nor does he want to see does not die, Tianhong original, she is heartbroken when she realizes he has no interest discover that her sweetheart is still alive, Ailiya, and his soldiers attack the temple and kill Tianhong Abbot’s instructions, On the in her. Ugly finally the evil nature of his adoptive father, Having recognized who they think is a witch. Abbot Luo and then commits suicide. kills including a musical and a and stage presentations, through several film published in 1831, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28September 2021 144 Li Ruru 2008. (Photo by Shi Huizhi) Figure 8. Ailiya’s vivacious song and dance excites her beggar friends. Shanghai, ety shows. 2003 thatithassincebeensungbymanyperformersindifferentvenues, fromconcertstovari- of thepearblossom), alsocomposedby Yang Nailin, wassowellreceivedatthepremierein companies frombothBeijingandShanghai. The production’sthemesong, “Lihua Song” (Ode symphonic jingjuproductionemployed300performersandsingers, andwascoproducedby imperial concubineinthegreat Tang dynasty). BasedonMeiLanfang’splaysandarias, this a Vagrant.”Called for Ailiya:“IAm song a jingjuhuqinplayerbutnowworkingattheCentralMusicConservatory)tocreatetheme Opera andDance Theatre) tocreatedances, andatmosphericcomposer Yang Nailin(originally the “foreignness” onthejingjustage, ShiinvitedchoreographerGaoXiaoya(fromtheShanghai the jingjustage, theSJT’swhole “creative group” workedtogether. Forthetaskofpresenting only oneman” (Shi Yihong 2010a). Inordertoportrayanunprecedentedfemalecharacteron son rosewithmanythorns, butinsideofhershehastheverytraditionalideabeingfaithfulto a womanwildlikethewindandfire. AsShi Yihong describedthecharacter, “Ailiya isacrim- character Yihong 2010a). Shi Yihong recalledthatwithinthreedays, everyoneattherehearsalswashummingit(Shi slowing-down andspeeding-upgaveadistinctivelysweetsound toNotre-Dame’s themesong. ments. The specialflexibilityintherhythmof Romani (“gypsy”)musicanditsbalancebetween dom toabsorbdifferentmusicalsourcesincludingCentral Asian, Chinesefolk, andjingjuele- contrast, thefactthatheroinewasaforeignyoungwomanoffered thecomposerfree- cal system cal scorewasbasedonthesipingtuneoferhuangmode few maleperformersplayingfemaleroles, acted Yang Guifeiinthepremiere. The song’smusi- archetypal characteroftheMeischool. Inaddition, MeiLanfang’ssonBaojiu, oneofthe acter thatsang “Pear Blossom” inTheImperialConcubine was thewell-known Yang Guifei, an 24. their own work (Shi Yihong 2010b; Feng Gang 2011). Both Shi Yihong and Feng Gang said that they were aware of the piece, but had not seen it before they started Yuen-ha, based in Hong a jingju performer Kong, and her husband, composer-producer Yeung Lau-ching (1999). Although boththemesongswerecomposedby Yang, theapproachesdiffered. The char The ideaofhavingathemesongoriginatedfromthe2003productionDatangguifei(The There was another jingju adaption of this novel, entitled istics theadapterswroteintorole(perpetuatingaclichédimageinpeople’sminds): — and concentratedonthesingingcharacteristicsofMeistyle. InNotre-Dame, by The Great ( Belfry — both elementsofjingju’smusi- 2008. Disney cartoon, tojingjuin her beloved. that shehasbeenabandonedby long ariawhenshediscovers a goodopportunitytosing fulness anditgivestheactress Chinese femalevirtueoffaith- three men. Jingjuplaysupthe the beautifulwomanand focuses ontherelationsbetween needs to expressthe needs to “gypsy” (fig. 9). Moreimportantly, she sings, acts, dances, andfights priate foracting Ailiya, who jingju femaleroletypeappro- Da zhonglou), initiated by Tang There iscertainlynoexisting 24 The SJTadaptation - 21st-Century Jingju 145 melody Figure 10. Ugly, in despair and love for the dead Ailiya, dances dances Ailiya, dead the for love and despair in Ugly, 10. Figure Huizhi) Shi by (Photo 2008. Shanghai, corpse. her with - - , Shanghai, 2008. (Courtesy of the Shanghai Jingju Theatre) Jingju (Courtesy2008. Shanghai the of Shanghai, , Dame Notre

ally the evil person who had put Ailiya in mortal danger. Ailiya, trying to cheer up Ugly, trying to cheer up Ugly, Ailiya, Ailiya in mortal danger. ally the evil person who had put The practitioners knew how to subtly introduce this unusual song to audiences. First, the this unusual song to audiences. The practitioners knew how to subtly introduce Ailiya’s first On the stage, onveyed the complex feelings between the two characters. Finally the theme song appeared Finally the theme song two characters. onveyed the complex feelings between the again towards the end of the play when Ugly danced with the corpse of the dead Ailiya. In this Ailiya. danced with the corpse of the dead again towards the end of the play when Ugly which she learned from non-jingju genres audiences appreciated Shi’s dance techniques, scene, as evidenced by the way she por offered to sing and dance for him. The non-jingju music and the dance (solos and a duet) The offered to sing and dance for him. c lyrics were the same as the jingju aria that Ailiya sang at her first entrance; only the Ailiya sang at her first entrance; only lyrics were the same as the jingju aria that It took place of the theme song corresponded to the plot. the placement Second, was modified. was his adoptive father and a respected religious man, Abbot Luo, when Ugly realized that actu trayed the seemingly uncon- trolled motions of a lifeless body through the minutely controlled gestures of her performance, carefully coordinated with 10). Ugly’s movements (fig. entrance was given a great deal It took place in of attention. front of the temple (Notre- disturbed by Abbot Luo, Dame). the noise of the beggars’ songs had just ordered and games, In the mid- everyone to be quiet. dle of the crowd’s silent embar rassment, the first line of the rassment, theme song could be heard. When the King of Beggars announced: “This is Ailiya’s Figure 9. Using the conventional female warrior techniques of throwing and kicking spears, Ailiya (Shi (Shi Ailiya spears, kicking and throwing of techniques warrior female conventional the Using 9. Figure soldiers. the fights Yihong) Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28September 2021

146 Li Ruru alien-looking forbothactorsandaudiences. position, a traditional female role’s way of standing (fig.position, 11). atraditionalfemalerole’swayofstanding break, anotherobserverwhoworksataUSuniversityaskedShiwhyshedidnotstandintabu to theShanghaiNormalUniversity, ateachingcollege, Iattendedtherehearsals. Duringthe thought outresponsesfromtheperformers. On26 April 2010, beforetheproductionwastaken jingju elements. aria withsomenon-jingjumelodiesleadingtoaninventivelycomposednewsongtinged SJT artistsskillfullyledaudiencestoacceptinnovationonthetraditionalstage:atypicaljingju diately before. The lyricsoftheariawereusedagainlaterforthemesong. Inthisway, the ments thatwereanextensionofthemusichadaccompanieddancepresentedimme- The ariawasinthestyleofjingutunenanbangzi jingju musicand Ailiya startedherfirstaria: of gaiety, Ailiya steppedontoalotus-shapedplatform. Jingju’smelodywaftedfromthenon- interrupted byasurgeofinnerpower she sometimesflowedandpaused. Thefluidmovements ing thedancecompetitionmentionedabove. Soonsheledthecrowdrunningaroundher, while jingju femalewarriorrolewiththetangoandpasodoblethatShihadrecentlyperformeddur heroine surprisedtheaudience. Ailiya’s dancefusedgestures, steps, and a conventionalplacewhereactorsenter. As thedirectorexpected, theunusualentranceof the firstandsecondstage-rightlegdrops, notfrombetweenthelastlegandbackcloth, ventional stagelocation. The directorarrangedforhertocomeoutfromthespacebetween thepaceofherentranceviolatejingjuconvention,only did italsooccurredinanuncon- around herheadintoaflower-like knot, Ailiyaenteredlikeaspreadingfire(seefig. 1). Not ance soonoverrodethatimpression. Runningoutinareddresswithlongscarftied strongly featuringtheheroiccharacter, themusic, percussion, and Aliya’s nontraditionalappear enter. Although thescenethusexhibitedcertainparallelstomodeltheatre’sapproachof voice,” everyoneinthecrowdshouted: “Here comes Ailiya!” andturnedtowhereshewas 26. 25. gestures andmovements, evolved throughrehearsalsfollowingthejingjuprinciplesof “roundness” and “opposition” of helped Shipresentunconventionaljingjuacting. However, someofthenon-Chineseelements story demandedamodificationofactingconventions. Theunusualexpanseoftheskirtalso essential pointthatconventionsarenotstatic. Inthiscase, thenewcostumerequiredby displaying thelargeskirttoaudience(fig. 12). Theseeminglysimplereplyilluminatesthe no sense. Instead, shestoodwithherlegsabouta footapart, oneslightlyinfrontoftheother, Ailiya’s non-Chineseskirtwashugeandthereforethejingjustanding conventionwouldmake The foreignstorywithitsunfamiliarcharacterandunusualcostumesnecessitatedwell Carry ustoheavenwithhappiness. God, bestowonmeyourblessing Hoping asweetheartwillcometome. Let medance My roadthatIwalkonisfullofsorrows. My hometownafariswithinme, I don’tknowwhereamgoingtomorrow. I amcalledavagrantand 2010b:55–82). arm first goes downwards towards the right direction. (Details can be seen in the training chapter in Li Ruru a stretched shape. “Opposition” arm must be in a curved means that if the actor needs to raise the left arm, the “Roundness” means that all the gestures and movements follow the principle of making a circle. For example, with the body’scurtseying, weight leg on while the forward other leg naturally bends slightly behind. On the jingju stage, the female role stands with feet in the position that a Western woman would adopt when — I singpassionately, 26 andasaresultthe “foreignness” onthestagetended tobecomeless — — the wingsofspiritthatblessesmymanandme evoked amysticalquality. After creatingavibrantsense but wasmodifiedwithnon-jingjuele- 25 Shiexplainedthatthebottomof — with burstsofspeed movements fromthe - - 21st-Century Jingju 147 Figure 12. Ailiya’s nonconventional style of standing style of standing nonconventional 12. Ailiya’s Figure (Courtesy 2008. the of Shanghai, role. female a for Theatre) Jingju Shanghai [Picking up the jade jade the up [Picking Yuzhuo Shi

The production gave me a good surprise. [...] Ailiya is not Yutangchun [an archetypal [an archetypal Yutangchun Ailiya is not [...] The production gave me a good surprise. What is important for me is that I saw a play female character in a traditional repertory]. (Sina Blog 2010) that I liked very much. Different Responses to the Experimental Work Responses to the Experimental Different to Intracultural Intercultural From many ordinary theatre- thanks to the internet, Yet Chinese theatre reviews are still very rare. “a , new Notre-Dame goers as well as critics and scholars publish their opinions on their blogs. drew great interest especially to by blog-writers), (as referred Shanghai-style jingju production” a video interactive entertainment media plat- PPLive, April 2010 via after it appeared online in Among the positive audience voices. but they are valuable as real judgments vary, Viewers’ form. emerging: feedback there are noteworthy indications that new audiences for jingju might be But does that matter? New audiences The writer does not have much knowledge of the genre. nor be unable to distinguish the music of xipi from may not understand the musical modes, but they express clearly whether or not nor know the subtypes of the role categories, erhuang, bracelet]. Moscow, 1956. (Courtesy of Li Ruru) (Courtesy 1956. Li of Moscow, bracelet]. Figure 11. An example of the female role in in role female the of example An 11. Figure Yujiao Sun position: standing conventional a in Yuru) (Li Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28September 2021

148 Li Ruru rapher, patterns that employed asymmetrical shapes. Together with the techniquedirectorandchoreog- backed manwithagoldenheart. Hisfacialpatternborrowedelementsfromcertaincomicrole techniques fromotherroletypes. Dongadmittedthatitwasnoteasyforhimtoactthishunch- suit hischaracter, Ugly. HebasedhisperformanceasUglyonthejing, butabsorbeddifferent as ShangChangroninYu Chenglong ) couldnotusethejing’sskillswithoutmodifyingthemto trained sincechildhood. DongHongsong, thejing tion neededtoaltertheiractinghabitsortheconventionsofroletypesforwhichtheyhadbeen place. InNotre-Dame, itwasnotonlyShi Yihong whotriednewskills:everyoneintheproduc- development, butgraduallylostasjingjumaturedandbecamesetinitswaysfrozen explore theircreativityandtestifiestojingju’selasticity there arenosimilarlydirectreferencestoRomanCatholicism). platform inthefirstsceneisshapedlikealotus, whichisanovertreferencetoBuddhism(and warrior role. Additionally, althoughtheadaptationavoidsnamingaspecificreligion, thestage tumes. Tianhong evenwearsthearmorandpairoffeatherplumestraditionalmale Notre-Dame. Forexample, Ailiya wearsforeignattirewhiletherestofcastisinjingjucos- in theproductionasconflicting. tradition beingabsorbedintofashionandentertainment;otherscritiquetheartisticapproaches ative reviewsechothefearthatNotre-Dame portendsalargertrendofvaluableChinesecultural Chinese culture’beingpresentedasahalf-bakedgypsydance?” (Wangyi Blog2008). Someneg - to thetastesofwiderworld? What willtheseforeignersthinkwhentheyseethis ‘essence of world, dowewantpeoplearoundtheworldtoappreciatejingju, ordowewanttotailorjingju eign attention. A criticwiththepen-name Yudianxin asked: “When jingjugoesouttothewider Chinese culture” byadaptinga Western masterpieceforthejingjustageinordertodraw conscious Chinawilllistentowhatcustomerssay. they liketheperformance 27. in thesenseexpoundedbyPatricePavis: frontiers ofjingju’sownpotential. This intercultural workenabledanintra jingju’s ownnature. Byusingelementsfromothercultures, Notre-Dame soughttoexplorethe pret aShakespeareanmasterpiece, theNotre-Dame projectattemptedtogaininsightinto which tookChinesetheatre West todemonstrate Western audiences thatjingjucouldinter kindness ofUgly(theinnerbeauty)andthecharmhisactingstyle(external beauty). (1991:2–3). Indeed, fromDong’ssongsandmovements, audienceswitnessedsimultaneouslythe Wichmann argues: “everything withintheworldofplaymustaboveallbebeautiful(mei and limp. Yet theperformersnevertotallyabandonedjingju’saestheticprinciples. As Elizabeth Nevertheless, thisexperimentalworkofferstheSJTpractitionersampleopportunityto Indeed, therearemanypotentialstylisticconflictsthatoughttobeaddressedinthejingju Other criticalviewsareharsher. SomesuggestthatShi Yihong andtheSJT “ruined stand moredeeplytheoriginsandtransformationofitsown culture. (1996:5–6) style ofperformance, tosituateitbetterinrelationexternal influencesandtounder traditions, oftenforgotten, corruptedorrepressed, inordertoreassessthesourcesofa The intraculturalisthecorrelativeofintercultural:itrefers tothesearchfornational While SJThadseenitselfasaculturalmissionarywithits2005jingjuadaptationofHamlet, on the dance section. The technical director’s differs function further from that of the choreographer, who usually focuses exclusively design gestures, movements, and dance-like blocking that are of the native part genre the production employs. whole production, similar to the director of a spoken drama. The other is called a “technical director,” who helps Today, indigenous Chinese theatre involves two types of directors. One is the director who is in charge of the 27 Dongdevisedaseriesofmovements, gestures, andstepstoshowUgly’shunchedback — whether ornottheyaretouchedbyit. Practitionersinmarket- actor (whousuallyplayedthesameroletype — a featurecrucialtothegenre’searly cultural experiment - )” )” - - 21st-Century Jingju 149 [The cultural position and Training Performance Dance, Theatre, Jingju).” [The jingju stage]. Shanghai: [The jingju stage]. In Jingju wutai from my heart]. [Words “Shuoshuo xinlihua” From Training to Performance in Beijing Opera ( Training From

, as new developments in Shanghai- in new developments as , and Notre-Dame Yu Chenglong Official The Upright —

Shanghai jingju fazhan zhanlue lunji [Collection In Shanghai jingju fazhan artistic essence of the Shanghai style of jingju]. Theory and Research Office of the SJT, ed. of essays on the Shanghai jingju development strategy], Chubanshe. Wenhui Shanghai: 158–63. Shanghai: Renmin Chubanshe. stage and in life]. Kong: Hong Kong University Press. Steps 3, 1. Archive. SJT SJT. Company Number 3, Honolulu: University of Hawai’i Press. Albany: 119–36. and Colin Mackerras, Tung Constantine eds. Republic of China, in the People’s Drama Press. York State University of New in 2:181–93. 5, Musical Theatre a speech at the commemoration of the 50th anniversary of achievement of the Shanghai jingju theatre], at http://fujin.nacta.edu.cn/show.php?contentid Available Archive. SJT the foundation of the SJT. April 2011). =107&page=2 (8 Berkeley: University of California Press. strategy], zhanlue lunji [Collection of essays on the Shanghai jingju development Shanghai jingju fazhan Wenhui Chubanshe. Shanghai: 164–78. Office of the SJT, Theory and Research ed. Both style jingju, represent particular outcomes of today’s dynamic interactions between market between market dynamic interactions outcomes of today’s represent particular style jingju, invite These productions artists’ creativity. and individual jingju conventions, ideology, forces, upon Once century. are up to in the 21st traditional artists what some Chinese us to consider - source of educa population as the prime of the Chinese served the majority theatre a time, position in Chinese a unique and central world; it occupied history and the outside tion about Should theatre to the margins. theatre has been pushed long gone, its uniqueness Today, life. it that every epoch has its own dom- targeted audiences? Or is for small, claim that it only exists theatres must accept their inev- and that jingju and many other regional inant cultural form, and Yihong, Shi Changrong, the past tense? Practitioners like Shang itable transition into demon- the new version of Notre-Dame as They keep fighting, so. many others do not believe SJT pre- 2011, in November Wuhan in Art held National Festival of Jingju At the Sixth strates. (Passions in the belfrey). entitled Qingshang zhonglou Sinicized production, sented a completely scholars, critics, professionals, but heard that theatrical performance, I have not seen the new and Feng Gang (2011) (2011) Yihong Shi views on the new work. and audiences had contrasting practice not only in their will provoke new ideas and groundbreaking believe that such debate - innova potential and endless creativity, Through their vast as a whole. but also in jingju work, respond to the modifying its shape to jingju continues, tive performers such as these ensure that demands of the coming decades. [Translucent jade: Li Yuru on Yuru jade: Li [Translucent jiating neiwai wutai shangxia/ Yuru Jingying touliang de yu: Li 2010a. Li Ruru. Hong . World and Continuity in the Changing Theatrical Creativity The Soul of Beijing Opera: 2010b. Li Ruru. and Body, Eyes, Hands, and Combat; Mouth, Dance-acting, Speaking, “Singing, 2012 (in press). Li Ruru. Li Yuru. 1980. Li Yuru. .” In .” Strategy Mountain by Tiger of Taking Analysis A Semiotic “Model Drama as Myth: 1987. Kirk. Denton, Studies “Signifying Beijing: Legitimizing Innovation in the Jingju Play Camel Xiangzi.” 2011. Megan. Evans, 15 December. interview with author, Telephone 2011. Feng Gang. aesthetics and the [The mainstream of “Zhuliu meixue he Shanghai Jingjuyuan de chengjiu” 2005. Fu Jin. 1870–1937 . Opera of Peking and Publics in the Re-creation Kings: Players Drama 2007. Joshua. Goldstein, In tradition]. [Modernity and Zhou Xinfang’s “Zhou Xinfang chuantong de xiandai yiyi” 1997. He Man. “Haipai jingju de wenhua dingwei he yishu jingshen” 1997. Huang Zaimin. References China. in Contemporary Drama and Popular Theatre Political Acting the Right Part: 2002. Xiaomei. Chen, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00171 by guest on 28September 2021

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