When foreigners visit Beijing, their Chinese friends often recommend Peking Opera as a must-see. However, it is not easy for someone who knows little about Chinese culture to fully appreciate the charm of the 200-year-old performing art.
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| Mei Lanfang in this file photo undated. [Xinhua] |
Mei Lanfang on stage in this file photo undated. [Xinhua] |
Learning about the life of an extraordinary Peking Opera actor therefore, could be a rewarding endeavor.
Nearly 50 years after Mei Lanfang (1894-1961) passed away, most Chinese still associate his name with Peking Opera. This has little to do with the fact that he was the first President of the Chinese Academy of Peking Opera in the 1950s.
He lives in people's hearts as some of the most famous female images in Peking Opera, one of hundreds of folk operas in the country.
Throughout his life, Mei remained a humble student of anything he deemed helpful to Peking Opera. Learning from other folk operas, modern drama, painting, poetry and Western art, he made daring innovations in script, performance, singing, costume, make-up, stage prop, lighting and musical instruments.
His love of Kunqu Opera, a predecessor of Peking Opera, was instrumental for the 600-year-old opera's revival.
Since he debuted in the minor role of the Weaver Girl at the age of 11, Mei specialized in graceful and dignified ladies (qing yi - blue dress) until 18.
When a qing yi character entered the stage, it was required that the actor must show no expression, with one hand by the side and the other on the stomach. The aficionados would close their eyes, wave their head and clap their hands with the singing.
Mei's grandfather Mei Qiaoling had tried to improve such roles by merging elements of a more lively genre named hua dan (colorful female role). Despite harsh criticism, Mei Lanfang went further to learn daoma dan (broadsword and horse female role).
Such cross-disciplinary learning was decisive for him to bring more glamour to the leading role in Concubine Yang Gets Drunk (Guifei Zuijiu). When he staged the show in Japan, the United States and the former Soviet Union, numerous audiences were won over by the brilliant attire, elegant movement and unforgettable singing.
Mei always said: "The audience is my mirror." When he played general Mu Guiying for the first time in Shanghai, fans criticized him for constantly looking at his feet. Like all generals in Peking Opera, he carried a number of embroidered flags on his back and the extra attire was a heavy burden.
Mei asked his friends to remind him by applauding. Among Peking Opera fans, saying "Bravo!" when the actor had just finished a particularly difficult stunt in movement or singing was more respectful than applauding. Soon Mei was able to get rid of the flaw.
In 1958, some audience chuckled during a performance. Mei was worried. At 64, he was no longer slim or nimble and playing charming ladies was a challenge. He thought of many postures and decided to lean forward, with the right hand on the back while bidding adieu to another actor. To the audience, the character looked much more elegant and believable.
Besides his art, Mei gained people's reverence for patriotism. At the height of his career, Mei stopped performing for eight years during the War of Resistance Against Japanese Aggressions (1937-45). Mei was determined not to entertain the invaders and grew a moustache to show his determination.
In 1959, Mei staged a new show about Mu Guiying, a patriotic general in the Northern Song Dynasty (960-1127). He thought of many ways to represent the general. She was initially hesitant if their family should serve the decadent rulers, but eventually she decided to defend the country against invaders.
Mei rewrote four important lines to show the change: "For 20 years I've been away from the armor and battle field. Today I'm on an expedition to defend the country. Battlefield reports boost every one's heart. Could Mu Guiying not think of serving the country and the people?"
Accompanying the four lines, Mei devised body movements and music that he learned from other folk operas such as Yuju and Hebei Bangzi. "I love this character very much. I have deep feelings towards her," Mei said.
