On October 23, at the Hefei News Agency, a captivating modern interpretation of the traditional Sizhouchuan opera titled “Lu Bu and Diao Chan” entices a new generation.
In a stirring performance at the Suzhou Grand Theatre, young actress Wang Yuna, born in the 2000s, took the stage, embodying the character of Diao Chan. As she sang, her voice soared an octave higher, reminiscent of a nightingale’s song piercing through the night sky.
The recently staged youth version of “Lu Bu and Diao Chan” features a cast of over 40 performers from the Suzhou Opera Troupe, with an average age of just 21. The youthful cast brings a fresh energy to this classic tale.
Backstage, young audience members like 10-year-old Zhang Yuxuan and Li Jinghan were enchanted by the intricacies of Sizhouchuan costumes and makeup. “This hairpiece adorned with gemstones is beautiful!” one exclaimed. Their first encounter with Sizhouchuan left them in awe, and they expressed a desire to return with their mothers for future shows.
Observing the performance, I found Sizhouchuan’s rhythm and melodies quite distinctive compared to the more familiar styles of Beijing opera or Kunqu opera. The sudden leaps in pitch combined with frequent changes in key create an engaging and lively atmosphere.
Liu Li, the head of the Suzhou Opera Troupe, shared that Sizhouchuan has a rich history of over 200 years as a traditional form of drama in the Huai River region of Anhui Province. Its greatest hallmark is its intricate vocal techniques and unique soaring notes, earning it the nickname “Soul-Lifting Melody.”
Incorporating elements of daily life, Sizhouchuan features folk tales and lively rhythms, ranging from simple clapping to complex melodies derived from labor songs and traditional tunes. Liu explained, “In ‘Lu Bu and Diao Chan’, the rhythm is generally 1/4 beat, often sung in a relaxed manner with varying speeds.”
The uniqueness of this rendition extends beyond its rhythm to its choreography and storytelling. Rooted in the classic “Romance of the Three Kingdoms,” the youth version follows Diao Chan’s cunning strategy to create discord between Lu Bu and the treacherous Dong Zhuo. However, unlike the previous, politically charged interpretations, this adaptation introduces a romantic subplot between Lu Bu and Diao Chan, akin to a Chinese version of “Conspiracy and Love.”
The scenes are enriched with vivid imagery, such as dancers elegantly performing in the royal palace, lotus flowers swaying in a garden pavilion, and soldiers preparing for battle amid a thunderous drumbeat. Modern technology like LED screens and projectors enhances the dramatic effect, bringing scenes like “Diao Chan Bows to the Moon” to life with compelling twists and turns.
Composer Chen Alei, born in the mid-1990s, remarked on the preservation of the original Sizhouchuan essence. The new version, unlike its predecessors which relied solely on traditional instruments like the erhu and pipa, incorporates over 20 Western and Eastern instruments to create a symphonic sound.
As the performance concluded, audiences lingered, reluctant to leave. “This was our first ticketed performance,” Liu said, surprised at its success, “Previously, we only offered free tickets. In the future, we plan to incorporate more technology and thrilling stunts to attract younger viewers.”
Gong Jianqiang, a senior student majoring in digital media and the leader of a folk Sizhouchuan troupe, expressed his emotional response after the performance. He has faced the challenge of singing 50 segments of opera in his dorm, creating vlogs of outreach performances, and garnering over 300,000 views for individual videos.
Comments from viewers like “Thank you for bringing back childhood memories!” and “This is a segment from the Sizhouchuan queen Li Baoqin!” inspire Gong’s commitment to preserving Sizhouchuan. He hopes that captivating storytelling, engaging plots, and beautiful music will draw a wider audience, particularly the younger generation.
As Wu Pingbo, who plays Lu Bu, removed his elaborate costume after the performance, he acknowledged the challenges of adapting to the vigorous demands of his role. “I’m still getting used to it, and I need to practice until it feels natural,” he said. His troupe has begun training aspiring young actors. While the curtains may fall on a show, the journey of these young performers is just beginning.
