Guwahati Mail

About Qinqiang Opera and Sanyi Troupe

Qinqiang Opera, one of China’s oldest traditional theatrical arts, originated in Shaanxi Province over 300 years ago. Known for its passionate vocals, vigorous performances, and earthy charm, it is hailed as a “living fossil of Chinese opera.” Through distinctive rhythmic patterns, percussive accompaniment of wooden clappers, and stylized movements, Qinqiang vividly narrates historical epics and human sagas, embodying the profound essence of Chinese civilization.

The Xi’an Sanyi Drama Agency, founded in 1895, is a revered institution of Qinqiang Opera. For over a century, it has preserved the purity of traditional opera while pioneering innovative fusions of past and present. Recognized as a intangible cultural heritage protector, Sanyi Troupe is celebrated both domestically and internationally for its masterful performances and artistic vision, earning the title of “Guardian and Innovator of Qinqiang Art.”

Historical Context of Wu Zetian and the Wordless Monument

Wu Zetian (624-705), China’s only female emperor, ruled during the Tang Dynasty (618-907) and later founded her own Zhou Dynasty (690-705). Rising to power through exceptional political acumen, she reformed imperial examinations and agricultural policies, yet her reign was also marked by ruthless power struggles. The “Wordless Monument” before her mausoleum, Qianling, stands as a unique relic in Chinese history—a 7.5-meter-tall stele intentionally left blank. Historians interpret this as Wu Zetian’s symbolic refusal to be confined by a singular narrative; instead, she entrusted her legacy to the judgment of time and posterity.

New Qinqiang Historical Opera “Wordless Monument”: A Boundary-Breaking Epic by the Century-Old Sanyi Drama Agency, A Symphonic Epic of Eastern Opera, Wu Zetian Engages in a Millennia-Old Dialogue with the Prosperous Tang Dynasty through Symphonic Qin Opera.

When the 130-year-old Xi’an Sanyi Drama Agency brought its new Qinqiang historical opera “Wordless Monument” to the Mei Lanfang Grand Theatre, this century-old troupe declared to the world through a cross-temporal artistic experiment that the soul of traditional opera has never ceased to resonate with the times.

This historical masterpiece, written by Luo Zhou, directed by Zhang Manjun, and composed jointly by composer Cheng Changning and Lan Tian、Guo Quanmin, not only reconstructs the grandeur of the Tang Dynasty through symphonic Qinqiang but also elevates Wu Zetian’s epic of power into an Eastern contemplation on humanity, power, and the inheritance of civilization, based on the century-old craftsmanship of the Sanyi Drama Agency.

On the night of the performance, the theatre was thronged with people, with tickets sold out half a month in advance, creating a situation where tickets were hard to come by. The audience included not only veteran Qin opera fans who came by reputation but also vibrant young groups, as well as cultural celebrities and overseas drama enthusiasts who gathered together to witness this artistic experiment that collides tradition with avant-garde.

Director Zhang Manjun, with the concept of “poetic historical drama” at the core, has infused this millennia-old legend with avant-garde expressions of contemporary theatre. She breaks through the linear narrative framework of traditional opera, using the montage technique of “fragment reconstruction” to interweave slices of Wu Zetian’s life with symbols of the prosperous Tang civilization. This is not a simple reproduction of history but a questioning of the essence of history through the suggestive aesthetics of opera.

Symphonic Qin Opera: Cheng Changning and Lan Tian’s “Sound of the Prosperous Tang”

The musical innovation of “Wordless Monument” can be regarded as a “boundary-breaking symphony” of Eastern and Western aesthetics. Composers Cheng Changning and Lan Tian have joined hands to seamlessly integrate the traditional vocal styles of Qinqiang with modern symphonic music, creating an auditory spectacle that is “both ancient and new.” Cheng Changning’s vocal arrangement, while preserving the “generous and tragic” essence of Qinqiang, introduces complex textures of strings and woodwinds, making Wu Zetian’s monologues as stirring as epics. Lan Tian’s theme music, on the other hand, outlines the majestic atmosphere of the prosperous Tang Dynasty with grand brass and percussion. The musical design of the four acts “Hooking Hearts,” “Presenting Cakes,” “Entering the Play,” and “Facing the Stele” is particularly stunning. For example, the power struggle between Emperor Li Zhi and Wu Zetian by Li Zhi’s sickbed is interwoven with the undercurrents of double bass and the urgent beats of clappers, symbolizing the suffocating nature of the power vortex. Wu Zetian’s singing segment during her ascension to the throne, with the powerful advance of symphonic music and the addition of the ethereal sound effects of electronic synthesizers, symbolizes her loneliness that transcends the times. This attempt at “opera symphonization” not only fails to weaken the soul of Qinqiang but also endows it with broader narrative tension, being praised by the audience as “a divine sublimation that makes one dream of the Tang Dynasty.”

Hou Hongqin: The Pinnacle of Eastern “Dramatic Soprano”

Hou Hongqin, a winner of the Plum Blossom Award in Chinese Drama, who plays Wu Zetian, is destined to be recorded in the history of opera. Her voice combines the penetrating power of Qinqiang with the lyricism of opera, fully displaying the complex dimensions of Wu Zetian as a wife, mother, and emperor, from low murmurs to high-pitched, tearing sounds. In the scene “Facing the Stele,” she interprets Wu Zetian’s vast and desolate state of mind facing the wordless stele with a nearly unaccompanied solo singing, her voice hanging in the air like a lonely moon, both mournful and proud, holding the audience’s breath.

Director Zhang Manjun commented, “Hou Hongqin’s performance transcends traditional opera conventions. Every glance and movement of hers deconstructs the stereotypical image of historical figures, making Wu Zetian no longer a symbol but a flesh-and-blood ‘person.’” This performance innovation, complementing the symphonic music, jointly constructs the modern dramatic aesthetics of “Wordless Monument.”

Stage Design and Costumes: A Contemporary Deconstruction of the Flourishing Tang Dynasty

The stage visuals are equally revolutionary.

Set designer Ma Lianqing reconstructs the Tang Dynasty palaces using abstract geometric lines.

The golden framework symbolizes the cage of power, while the slanted stage design subtly alludes to the imbalance within power structures.

Lighting designer Xing Xin employs blood-red hues juxtaposed with cold blues to highlight the brutality of power struggles and the inner solitude of Wu Zetian.

Costume designer Yang Donglin’s creations are a feast of cultural fusion.

Wu Zetian’s attire blends the wide sleeves of Han and Tang styles with Persian patterns, reflecting the grandeur of the Tang Dynasty’s global influence while subtly hinting at her ambition to transcend the constraints of tradition.

In contrast, Li Zhi’s ill-fitted robe, crafted from silk and linen, symbolizes the fragility of imperial authority.

This balance between “historical authenticity and artistic imagination” transforms the stage into a realm for dialogue between Eastern and Western aesthetics.

Wordless Monument, Mirror of Civilization: A Global Expression of Cultural Confidence

The “Wordless Monument” serves as a mirror of civilization, narrating Eastern stories within a global context.

Screenwriter Luo Zhou adopts a non-judgmental historical narrative, transforming the power struggle between Wu Zetian and her four sons into a compelling human experiment.

“This production brings history into the hearts of the audience, bridging the chasm between human bonds and imperial ambitions. Here, the essence of Eastern aesthetics ascends into an ultimate inquiry into the well-being of humanity,” exclaimed Wu Geng, a renowned cultural critic.

The success of “Wordless Monument” represents not only a breakthrough in artistic form but also a contemporary interpretation of Chinese cultural confidence.

Luo Zhou refuses to evaluate Wu Zetian from a singular perspective; instead, through her complex power dynamics with her closest kin, he reveals the eternal paradox of power and humanity.

This “blank space” narrative, much like the monument itself, embodies a shared aspect of human civilization, inviting global audiences to engage in their own interpretations.

Liu Gebing, Producer, and Zhang Chongxue, Artistic Director of “Wordless Monument”, stated: “Through this boundary-breaking rebirth in the epic of the prosperous Tang Dynasty, the 130-year-old Sanyi Troupe demonstrates to the world that traditional Chinese opera is not a museum relic, but a living river of civilization—it surges forth from the depths of history and will ultimately resonate eternally in the cosmos of humanity. As a key project supported by the China National Arts Fund, we hope “Wordless Monument” will embark on an international tour, bringing the innovative voice of “Eastern Resonance” to the world.”

When millennia-old melodies resonate with symphonic music, and the grandeur of the Tang Dynasty merges with contemporary aesthetics, this “breaking boundaries and rebirth”of Eastern opera may well pen a new chapter in the global dissemination of traditional culture.

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