On the evening of February 16th, the newly adapted Beijing Opera "Qi Baishi" had its premiere at Chang'an Grand Theatre. The ethereal voices of children sang the Beijing children's song "Water Buffalo," and on the semi-transparent backdrop resembling rice paper, dragonflies, lotus flowers, and ripples on the water gradually emerged. The young "Qi Baishi" chased dragonflies in the countryside, setting the stage for the unfolding story.
The newly adapted Beijing Opera "Qi Baishi" immediately immersed the audience in a rich atmosphere of "artistic expression." Scenes on the stage, from small and large archways to bustling peddlers and a bride, depicted a vivid picture of the folk customs in Beijing during the 1920s. When Zhang Jianfeng, a young artist from the Beijing Beijing Opera Theater and a representative of the Xie school, appeared as Qi Baishi, dressed in a long robe, leaning on a cane, with all-white hair, he closely resembled the real image of Qi Baishi, drawing applause and acclaim from the audience.
The play delves into Qi Baishi's artistic journey during the transformative period of the 1920s when he faced challenges during his "Years of Decline and Transformation." Qi Baishi, initially struggling to make a living by carving and selling paintings, gained recognition when one of his paintings sold well at a Sino-Japanese art exhibition. Despite the surge in orders and rising prices, Qi Baishi found himself in contemplation: if a painter cannot follow his heart in creating art, how is he different from a portrait artist in a flower shop? After much internal struggle, in his old age, Qi Baishi decided to heed the advice of his mentor Chen Shiceng and embarked on the path of artistic transformation.
That night, the spectacular singing performances by several seasoned Beijing Opera actors earned enthusiastic applause from the audience. The play not only featured Zhang Jianfeng as Qi Baishi but also invited Li Hongtu, a leading actor from the same theater specializing in the Ye style, to portray Mei Lanfang. The story unfolds the relationship between these two artistic masters. "Changing a single character is extremely difficult, perplexing many heroes," sings Qi Baishi in the play, facing the disdain of peers, the incomprehension of the world, the encouragement of family, and the consolation of kindred spirits. In the end, the septuagenarian Qi Baishi successfully undergoes a profound transformation on his artistic path.
"Portraying the familiar image of Qi Baishi on stage is a great challenge for me," said actor Zhang Jianfeng. In the play, Qi Baishi often leans on a cane, prompting Zhang to study the postures of artists like Ma Lianliang who used canes in Beijing Opera performances. Zhang Jianfeng, who has also studied under the esteemed artist Ouyang Zhongshi, coincidentally discovered that Ouyang Zhongshi had learned painting from Qi Baishi. "So, through recalling my interactions with Mr. Ouyang, I tried to understand how to better portray the image of Qi Baishi. At the same time, I also studied Qi Baishi's authentic paintings and attempted to draw with a brush myself."
The opera "Qi Baishi" introduces two special characters - two spirits existing in Qi Baishi's consciousness named "Divine Thought" and "Earthly Thought," played by a female and a male actor in the dan and chou roles, respectively. Director Fu Yongfan explained that they represent the "internalization" of Qi Baishi's inner thoughts. "Earthly Thought pursues the pursuit of real-life goals, while Divine Thought pursues the pursuit of artistic realms." The play also incorporates the role of a dragonfly, using its dance to link the entire production. These bold innovations are inspired by Qi Baishi's spirit of "disliking mediocrity."
When Qi Baishi sings "Painting the Eternal Spring", finally entering the realm of artistic freedom in his creative work, he puts down his cane, spreads his arms, and, like a bird, liberates himself, revealing the innocent and romantic heart of a child on the stage. In the final scene of this cross-genre and innovative work, the song "Water Buffalo" resounds, concluding the play in the traditional style of Beijing Opera.
Translator: BAI Jing
Reviewer: LIU Siqi
