{"id":7406,"date":"2017-10-20T17:35:37","date_gmt":"2017-10-20T09:35:37","guid":{"rendered":"http:\/\/www.writtenchinese.com\/?p=7406"},"modified":"2022-09-01T11:24:56","modified_gmt":"2022-09-01T03:24:56","slug":"mei-lan-fang-king-peking-opera","status":"publish","type":"post","link":"https:\/\/www.writtenchinese.com\/mei-lan-fang-king-peking-opera\/","title":{"rendered":"Mei Lan Fang: The King of Peking Opera"},"content":{"rendered":"
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The introduction of dance into Chinese opera at the beginning of the last century massively changed how the Chinese people experienced opera. Previously, it was only listened to, but now strong aesthetic standards were being established and allowed people to express and experience the beauty of Opera in a different way. <\/span><\/p>\n\n\n\n

The person who made this happen was Mei Lanfang.<\/span><\/p>\n\n\n\n

Mei Lan Fang was a female impersonator, which sounds quite impressive for the turn of the 18th century, but it was normal at this time for men to take the female roles on stage. Mei managed to successfully \u2018play\u2019 a woman on the stage well into his 60s, and to retain the people\u2019s interest over 50 years later.<\/span><\/p>\n\n\n

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The Early Years of Mei Lan Fang <\/span><\/h2>\n\n\n\n

Mei Lan Fang <\/span>\u6885\u5170\u82b3<\/span><\/a> (m\u00e9i l\u00e1n f\u0101ng)  was born into a family that was not particularly well off, on 22nd October 1984. His grandfather, Mei Qiao Ling <\/span>\u6885\u5de7\u73b2<\/span><\/a> (m\u00e9i qi\u01ceo l\u00edng) had performed Peking Opera in front of the Dowager Cixi <\/span>\u6148\u79a7\u592a\u540e<\/span><\/a> (c\u00ed x\u01d0 t\u00e0i h\u00f2u) of the Qing Dynasty <\/span>\u6e05\u671d<\/span><\/a> (q\u012bng ch\u00e1o) 1644 – 1911). Since the elite enjoyed watching Peking or Beijing Opera <\/span>\u4eac\u5267<\/span><\/a> (j\u012bng j\u00f9), it also became fashionable for the common people too. <\/span><\/p>\n\n\n\n

Both Mei Lan Fang\u2019s father, Mei Zhu Fen and grandfather appear in a painting of the best Peking Opera performers made during the reigns of Tongzhi <\/span>\u540c\u6cbb<\/span><\/a> (t\u00f3ng zh\u00ec) and Guangxu <\/span>\u5149\u7eea<\/span><\/a> (gu\u0101ng x\u00f9).<\/span><\/p>\n\n\n

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Sadly, Mei\u2019s father died when he was 4 years old, and whilst Mei\u2019s uncle, Mei Yu Tian supported his brother\u2019s family, the pressure was very quickly placed on Mei Lan Fang, as the only boy in the family, to follow in his father\u2019s footsteps and become part of a Peking Opera troupe.<\/span><\/p>\n\n\n\n

Performing troupes were like big families, and so the idea of a son following in his father\u2019s footsteps was not uncommon. In fact, in those days children of opera performers had no choice but to become part of the opera. Although Mei Lan Fang went to school when he was very young, many schools refused to take performer\u2019s children and so the opera was the only way to make a living.<\/span><\/p>\n\n\n\n

Training Begins<\/span><\/h2>\n\n\n
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Once he turned 8, Mei Yutian set about finding a trustworthy teacher who could train Mei in the art of Peking Opera. He was initially taught by a former student of his grandfather\u2019s, but Mei showed little talent and the teacher refused to teach him.<\/span><\/p>\n\n\n\n

His family were extremely disappointed that Mei had not inherited his grandfather and father\u2019s talent, and was described by an aunt 50 years later as being \u2018inarticulate and bland looking\u2019 as a child. <\/span><\/p>\n\n\n\n

Eventually, a teacher took on the role of training Mei in the operatic techniques needed to perform. He was patient and after only 2 years of training, prepared Mei for his first performance. <\/span><\/p>\n\n\n\n

The Jia family tea house, now known as the Guanghe theatre <\/span>\u5e7f\u548c\u697c<\/span><\/a> (<\/span>gu\u01ceng h\u00e9 <\/span>l\u00f3u<\/span>)<\/span>, was a prestigious establishment that actors were honoured to play at. In 1904, aged 10, Mei made his stage debut, although few people found him impressive.<\/span><\/p>\n\n\n\n

Once he had been performing for some years, he joined a troupe, and the Mei family\u2019s prospects greatly improved.<\/span><\/p>\n\n\n\n

Mei\u2019s constant diligence and dedication made up for his shortcomings. He learned the art of opera the \u2018correct way\u2019 and refused to take shortcuts. <\/span><\/p>\n\n\n\n

Mei Lan Fang the \u2018Dan\u2019 <\/span><\/h2>\n\n\n
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Mei took on the role of the \u2018dan\u2019 \u65e6 (d\u00e0n), specifically <\/span>\u9752\u8863 (<\/span>q\u012bng<\/span> y\u012b).<\/span>  A \u2018dan\u2019 is a <\/span>female role within Peking Opera<\/span><\/a>, and during this time, women were not allowed to perform in opera so female roles were played by men. Later on, Mei also took on other \u2018dan\u2019 roles including <\/span>\u82b1\u65e6 <\/span><\/a>(<\/span>hu\u0101<\/span> d\u00e0n) a vivacious female role.<\/span><\/p>\n\n\n\n

Mei stood out from other performers, and his ability to play any female role caused a stir in Beijing but marked him out as a star of Peking Opera.<\/span><\/p>\n\n\n\n

His performance was different from traditional ones, and audiences were enthralled. After the end of the Qing Dynasty in 1911, women were able to visit the theatre, who particularly enjoyed the Dan roles played by Mei Lan Fang.<\/span><\/p>\n\n\n\n

As Mei performed more and became extremely popular, following the path of other Peking opera stars, such as Tan Xin Pei <\/span>\u8c2d\u946b\u57f9<\/span><\/a> (t\u00e1n x\u012bn p\u00e9i) in order to become \u2018King of Opera\u2019. The more traditional performers were afraid that the old ways would be replaced by more modern techniques, music and dancing.<\/span><\/p>\n\n\n

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Mei Lan Fang and Tan Xin Pei became friends, and although Mei learned from him, he was beginning to reform Peking Opera and addressed contemporary issues that had previously been deemed inappropriate.<\/span><\/p>\n\n\n\n

New plays began to appear in Beijing where people wore modern clothes and introduced new twists. The topics were about everyday subjects, such as feudal marriage. Although this modern type of opera did not survive, it was a sign of Mei\u2019s desire to redesign Peking Opera for a contemporary audience.<\/span><\/p>\n\n\n\n

In 1913, Mei was invited to perform in Shanghai and this was the first time he had travelled so far from home. He was given 2nd billing to Wang Fengqing the \u2018Lao Sheng\u2019 <\/span>\u8001\u751f<\/span><\/a> (l\u01ceo sh\u0113ng) or \u2018elderly man\u2019 performer. <\/span><\/p>\n\n\n\n

Wang found out that some audience members had left once Mei had finished his performance. He told Mei that in future he would appear in the grand finale. Mei\u2019s friends suggested that in order to change Peking Opera for the future, he should choose Peking Opera Blues <\/span>\u7a46\u67ef\u5be8<\/span><\/a> (<\/span>m\u00f9 <\/span>k\u0113 <\/span>zh\u00e0i)<\/span> for his Grand Finale. 7 days later, Mei performed his new role and he became an overnight sensation.<\/span><\/p>\n\n\n\n

From 1915 to 1916, Mei Lan Fang was extremely successful and was able to support his family. He was able to paint and practise plays with his friends in his spare time.<\/span><\/p>\n\n\n\n

In 1916 he performed in The Story of Su San <\/span>\u7389\u5802\u6625<\/span><\/a> (y\u00f9 t\u00e1ng ch\u016bn), and people were amazed were his singing voice and applauded and cheered.<\/span><\/p>\n\n\n\n

Reforming \u2018Dan\u2019 Roles and Peking Opera<\/span><\/h2>\n\n\n
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Mei Lan Feng performed the \u2018dan\u2019 role in \u2018Goddess Chang’e Flying to the Moon\u2019 <\/span>\u5ae6\u5a25\u5954\u6708<\/span><\/a> (<\/span>ch\u00e1ng<\/span> \u00e9<\/span> b\u00e8n yu\u00e8)<\/span>. The \u2018dan\u2019s\u2019 singing and dancing won the hearts of the people.<\/span><\/p>\n\n\n\n

For his performance in \u2018Heavenly maid scattered blossoms\u2019 <\/span>\u5929\u5973\u6563\u82b1<\/span><\/a> (<\/span>ti\u0101n <\/span>n\u01da <\/span>s\u00e0n <\/span>hu\u0101)<\/span> Mei Lan Fang invented the \u2018ribbon dance\u2019 <\/span>\u957f\u7ef8\u821e<\/span><\/a> (<\/span>ch\u00e1ng ch\u00f3u <\/span>w\u01d4)<\/span>, a very unusual addition to a Peking opera. <\/span><\/p>\n\n\n

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In 1922, he performed in \u2018Farewell my Concubine\u2019 <\/span>\u9738\u738b\u522b\u59ec<\/span><\/a> (b\u00e0 w\u00e1ng bi\u00e9 j\u012b) and changed the performances from the original so that the roles were reversed and the \u2018Dan\u2019 female character overshadowed the \u2018Sheng\u2019 or male character. <\/span><\/p>\n\n\n