The Evolution of Traditional Art in the Smartphone Era The Evolution of Traditional Art in the Smartphone Era The Evolution of Traditional Art in the Smartphone Era

2024 marks the centenary of Jin Yong’s birth. I wanted to create a project that was somewhat special, as most adaptations are in the film and television categories. Jin Yong’s novels are about “storytelling”, history, and ancient tales, which are deeply connected to Xiqu. However, The Smiling, Proud Wanderer has no specific historical background, and I felt its classic characters could all be interpreted through Xiqu’s hangdang (role types)—Sheng, Dan, Jing, Mo, and Chou. Thus, I consulted with several Xiqu masters, including Ke Jun, Zhou Long, and Kong Aiping. They were all interested, and Zuni obtained the authorization from Ming Ho Publications, leading to the creation of Jin Yong Xiqu Theatre.

We wanted to transform Jin Yong’s stories and characters into exquisite pieces of Xiqu: using Jingju(Peking opera) and Kunqu(Kunqu opera) forms, combining visual and auditory elements, and employing new audio and projection technologies to innovate from within tradition.

Zhou Long and his student Ren Jiale used traditional Wusheng (martial male) performance methods to interpret Linghu Chong’s “Nine Swords of Dugu”. Ke Jun and I researched how to turn Linghu Chong’s internal thought process—at the moment his master Yue Buqun was about to banish him to the mountains—into Linghu Chong: Flee by Night, inspired by Lin Chong’s Night Run. Kong Aiping integrated concepts from multiple hangdang into the character of Dongfang Bubai, specifically the transition from Sheng to Dan. Portraying that entire transformational process is a significant test of an actor’s skill.

Additionally, there is a scene called The Song of The Smiling, Proud Wanderer, which focuses on the final segment between Linghu Chong and Ren Yingying. I wondered if we could perform it in a state similar to The Peony Pavilion. I am using the frameworks of traditional Xiqu to recreate these Jin Yong characters, experimenting to see what kind of effects can be pieced together. In fact, many characters in Jin Yong’s works can be turned into Xiqu; there is a lot of potential chemical reaction between his novels and Xiqu that can continue to develop. We are just at the beginning.

From my perspective, every actor in Xiqu possesses “true kung fu”; they are like martial arts masters. The concept is similar: one must have strong basic skills to be a master. Recently, I have been reflecting on what aspects of Xiqu are worth learning and inheriting, and what parts need improvement. What should be learned is the methodology of Xiqu, because it is the best training for the performing arts. Once you have learned Xiqu, you can be a stage actor, or act in film and television, because Xiqu is not just a superficial result, but the learning process behind it. Xiqu itself is a holistic performing art—incorporating singing, speech, acting, and martial arts—unlike Western traditions that compartmentalize performing arts into opera, ballet, drama, and so on.

The basic skills of Xiqu are the basic skills of all performing arts—learning how to breathe, how to use the eyes, how to use the voice, how to use the body, and how to move across the stage. Moving on stage is an interaction with space; you must understand your own body before you can perform. Many concepts of basic skills are about developing oneself by understanding one’s own body and way of thinking; only by understanding yourself do you know what you can achieve.

In any type of learning, basic skills are important. When China develops creativity, it must look for the basic skills within tradition, because this concept is the most important foundation of Chinese tradition. In a high-tech, high-consumption society, basic skills often become undervalued—the mindset is “I can just buy the result”. Whether young people are willing to spend time practicing basic skills is indeed a vital issue for artistic development. Human physical limitations require long-term training to master these skills. Xiqu is currently facing this state of affairs and the problem of inheritance.

Zuni’s 2024 season theme was “XATQ,” focusing on the relationship between Xiqu and technology and the integration of the two. Theatre itself has always been related to technology. Where is the connection point between Xiqu and technology? Some improvements are made through stage equipment, but more are in scenography to make Xiqu more visually appealing. Throughout its development, Xiqu has always been linked to technology. For example, Xiqu costumes were a form of technology of that era—essentially a special effect. Water sleeves and the attire worn by Wusheng actors are designed to make the performers appear larger on stage. Therefore, we also started with costumes this time, using innovation in fabrics and imagery to coordinate with the Xiqu performance. We hope to create an interaction between the actors and the costumes, making it an experiment in performance interaction rather than just a visual scene.

Another very important element is sound, because we don’t just “hear” sound; sound also affects our feelings. When we talk about music, it is not as simple as just appreciating the melody. Thirty years ago, when I collaborated with Master Shi Xiaomei of the Jiangsu Province Kunqu Opera Theatre, we also started with sound. The best way to listen to Kunqu is to hear the original, natural sound. We look at how to use audio technology and microphones not just to make the sound louder, but to increase its emotional impact while maintaining the feel of the original sound. This time, we are using Soundscape technology to present a new musical aesthetic for Xiqu. Soundscape is a new technology that allows you not just to listen to music, but to feel it.

Through collaborating with Xiqu masters, we have come to understand each other, which is very interesting. How to understand Western technology so that it can be used to innovate our Eastern aesthetics is an interactive relationship. Only after understanding these technologies can we know how to use them for innovation. Arts Tech is not just a tool; understanding the relationship between these tools and ourselves is a basic skill for a creator. If an artist’s basic skills are strong, they can transform into many different types of art. At the same time, skilled technicians can collaborate with art to create a new kind of exchange.

The purpose of Zuni’s many Arts Tech experiments is the hope of cultivating excellent technical talent.

In traditional performing arts, the audience sits in the auditorium watching the actors on stage. Smartphones have changed our relationship with art—there is a constant need for interaction. As a result, people find it difficult to sit still and watch a play quietly. Currently, audiences for traditional arts and culture theatres are dwindling rapidly.

From an ideal perspective, cultivating an audience should start with early childhood education, so that children can absorb “aesthetic genes” as they grow. Basic early childhood education for ages three to six is essentially aesthetic education—learning what color, space, and nature are—which are all basic concepts of art. But we don’t necessarily have to follow the Western model. Traditional Chinese Xiqu actually has many fun elements that can be introduced into the cultivation of aesthetics.

Xiqu itself is a system of symbols. It contains many visual symbols, such as facial makeup, as well as auditory symbols and literary beauty. Xiqu is not a “short video”; watching it requires thought. You must consider the lyrics you hear and what a specific movement represents. Xiqu props are very simple—often just “one table and two chairs”—but we say that Xiqu is very “wide”. Cultivating a good audience can start with the basics of Xiqu; only by knowing these basics can one know how to appreciate it. I am also trying to explore this area—how to guide the audience to watch a play so they understand the theatre’s design, history, and aesthetics.

As an artist, I conduct experiments within my scope in the hope of creating fundamental change. At the core is the relationship between children and art. That is why we are conducting research on artistic spaces for children’s theatre, exploring how to bring technology into the theatre for everyone from infants to primary school students. We want to establish their relationship with the theatre and their sense of space—giving children an experience that a 2D smartphone cannot replace. In fact, theatre space can be developed into an experiential form of teaching.

Traditional Art × Innovative Design — Acclaimed Revival of Reimagined Excerpts

Chinese Opera Masters Passing the Torch — Preserving and Innovating Cultural Heritage

Adapted from Jin Yong’s Iconic Novel — Honouring a Literary Legend

2026.1.16-17 (Fri-Sat) 8pm
○ Studio Theatre, Hong Kong Cultural Centre
○ Standard $320｜Student $100
★ Running time approximately 85 minutes, with no intermission included; English and Chinese surtitles are provided.

Using excerpts from the newly adapted highlights of Jin Yong Xiqu Theatre – The Smiling, Proud Wanderer as an introduction, this programme demonstrates and provides guided appreciation of the four fundamental skills of Chinese opera. By integrating art technology, it showcases the aesthetic beauty of traditional performing arts.

2026.1.18 (Sun) 3pm
2026.1.24 (Sat) 3pm, 8pm
○ Studio Theatre, Hong Kong Cultural Centre
○ $100
★ The programme lasts approximately 60 minutes; conducted in Cantonese with English interpretation provided.

Book NOW