Leading wusheng (military male) heavyweights from four major Peking Opera troupes assemble unprecedentedly in Hong Kong to flex their muscles in three fascinating programmes. Celebrated as ‘the foremost wusheng of our time’, Xi Zhonglu joins Wei Xuelei of the Jingju Theater Company of Beijing and Chen Lin of the Shanghai Jingju Theatre Company to set the stage with The Battle at Changbanpo and The Incident at Hanjin Crossing, spectacular works that capture the heroic spirit of the Three Kingdoms. Wang Xilong from the Shanghai Jingju Theatre Company, elaborates his military painted-face role in two iconic works. Wang Daxing from the Tianjin Peking Opera Theatre demonstrates valour of the fully armoured role in The Pulley, while Lu Meng of the Hubei Provincial Peking Opera Theatre presents the dynamic close-combat style in Seven for a Righteous Cause.

The Martial Art of Wusheng in Peking Opera

The wusheng (martial male) within the sheng role type of Peking Opera can broadly be divided into two subtypes: changkao and duanda.  Changkao wusheng wear full armour and thick-soled boots, portraying commanding generals such as Guan Yu and Zhao Yun with dignified bearing alongside combat techniques.  Duanda wusheng, by contrast, wear fitted costumes and light footwear, depicting heroic fighters through agile, swift, and acrobatic movements.  Three mainstream stylistic schools of wusheng personae emerged towards the turn of the 20th century: the Yu (Jusheng) school was fierce and maverick, pioneering in adopting painted-face outlook for warriors; the Li (Chunlai) school was renowned for acrobatic tumbling and nimble physicality; and the Huang (Yueshan) school combined virtuosic singing with beard technique.  Later, the Yang (Xiaolou) and Gai (Jiaotian) schools rose to prominence — celebrated respectively as ‘Northern Yang’ and ‘Southern Gai’— shaping the modern aesthetics of wusheng artistry.

Programme Details

26/6 7:30pm

Lin Chong on the Run, The Battle at Changbanpo and The Incident at Hanjin Crossing 

Lin Chong on the Run is a well-known Peking Opera featuring duanda wusheng roles, with equal emphasis on vocals and acting.  Zhao Hongyun from the Shanghai Jingju Theatre Company successfully conveys the derring-do spirit of a Water Margin hero and the desolation of a fallen warrior.  The Battle at Changbanpo and The Incident at Hanjin Crossing showcase scenes of combats from the Three Kingdoms, performed by a succession of wusheng actors.  Acclaimed master Xi Zhonglu, hailed as today’s foremost wusheng, commands the stage as Guan Yu with impressive manoeuvres of courage, valour and composure.  Wei Xuelei of the Jingju Theater Company of Beijing and Chen Lin of the Shanghai Jingju Theatre Company share the portrayal of Zhao Yun, dazzling with their epic warfare feats.  The two-part programme contrasts melancholic solitude with all-out combats, demonstrating the dynamic range of martial artistry in Peking Opera.

27/6 7:30pm

The Pulley, Wu Song Checking in at the Inn, Rescuing His Sister at the Bright Sun Mansion

The Pulley is regarded as a touchstone of wusheng mastery, constituting to generations of skilled virtuosi each with their respective style.  In this programme, Wang Daxing, a Class One Performer of the Tianjin Peking Opera Theatre, demonstrates his formidable command of challenging routines such as qiba, extended combat, and ‘overturning the pulleys’ technique in his portrayal of General Gao.  The acclaimed Wu Song Checking in at the Inn of the Gai school features Shanghai Jingju Theatre Company rising star Lu Jialiang, whose agile movements bring humour and vitality to the piece.  In the masterpiece Rescuing His Sister at the Bright Sun Mansion of the Li (Huiliang) school, Class One Performer Wang Xilong’s martial choreography is outstanding in portraying the spoilt-brat Gao Deng with striking poses.  All three works reveal the diversity and stylistic brilliance of wusheng traditions in Peking Opera.

28/6 2:30pm

Zhong Kui Marrying His Sister Off, Seven for a Righteous Cause, At the Crossroads, On Iron Cage Mountain

Refined by master Li Huiliang, Zhong Kui Marrying His Sister Off has become a signature wusheng piece combining singing, line delivery, and martial choreography.  Wang Xilong, inheritor of the Li school, captures the role’s delicate balance of humour and poignancy.  Both Seven for a Righteous Cause and At the Crossroads are classics of the Gai school.  In the former, Class One Performer Lu Meng of the Hubei Provincial Peking Opera Theatre leads a dynamic ensemble, embodying the gallant spirit of outlaw heroes through vigorous martial choreography.  The latter features Shanghai Jingju Theatre Company performers Hao Shuai and his long-time partner Hao Jie, who are amongst the most celebrated comic-action duets playing wusheng and wuchou (martial comic) roles.  On Iron Cage Mountain is a major painted-face wusheng showcase, while Xi Zhonglu closes the evening as General Jiang Wei, with his commanding presence and dazzling combat sequences.