【Chinese Opera ABC】Student Guided Performance:The Smiling, Proud Wanderer Meets Xiqu 【Chinese Opera ABC】Student Guided Performance:The Smiling, Proud Wanderer Meets Xiqu 【Chinese Opera ABC】Student Guided Performance:The Smiling, Proud Wanderer Meets Xiqu

Interview Excerpts with Mathias Woo, Co-Artistic Director of Zuni Icosahedron, on the Premiere of Jin Yong Xiqu Theatre – The Smiling, Proud Wanderer

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.

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In the contemporary cultural context, positioning and revitalising traditional arts is an issue that every artist encounters. Musician Yeung Kin-ping’s insight and practice pronounce loud and clear, “Traditions used to be popular culture in the past.” Instead of diminishing the depth of tradition, such an approach is putting traditions into perspective in the ever-flowing river of history. At its core, any art form that has deeply moved a generation always strikes a chord with humanity. That is the case for Naamyam and Cantonese opera, as well as Jin Yong’s canonical Wuxia fantasy.

However, the challenge for contemporary interpretations of classics is two-fold, especially when adapting Jin Yong’s novels to Namyaam, a highly regional and language-centric type of folk music. Yeung pointed out the artist’s dilemma – one must be discreet to avoid creating controversy over “misinterpretations,” yet open enough to refrain from producing something safe but lackluster – “an insult to the classics.” Real innovation lies in an accurate grasp of the original spirit, and to “write your own thing” with the contemporary artistic language. This echoes with Zhou Long, the Xiqu director of “Nine Swords of the Lone Swordmaster”, who incorporated the traditional techniques of “singing, recital, action, and martial arts” with modern theatre for a Xiqu portrayal of Linghu Chong.

Yeung’s artistic journey is, in itself, a microhistory of how traditions take root in an individual’s life. It all began with the innocent comparison between Erhu(a Chinese two-stringed bowed musical instrument) and a gun in his childhood, followed by an extensive inquiry into Cantonese opera and violin. Yeung later majored in Erhu and Gaohu(a Chinese bowed string instrument) in college and became a professional musician, before engaging in Namyaam at a friend’s encouragement. Nothing was planned but a result of interest and serendipity. He confessed, had he not begun as a child, he “might not have taken this path today in a time when there’s a myriad of choices, that champions pragmatism.” Informed by personal experience, he put extra emphasis on early education and promotion. His band produced Namyaam cartoon videos for kids. It sows the seeds of traditions as a part of their cultural genes, waiting to blossom in the future.

Confronted by the tension between “regionalisation” and “internationalisation,” Yeung’s answers were practical and insightful. Since Namyaam is created based on the tonal variations of Cantonese, it has an incredibly high cultural threshold. It is as difficult as translating the literary allusions of the poetry and prose in Jin Yong’s novels into English. Instead of forcing the original The Smiling, Proud Wanderer upon the overseas audience despite many cultural hurdles, he suggested a path of “reversed innovation”: adapting foreign classics into Namyaam or Cantonese opera. Attract the audience with familiar stories, then let them immerse naturally in the beauty of the art form. The strategy beckons acceptance of the form, driven by content familiarity.

Interconnected, Yeung’s quest presents a clear internal logic: from the historical perspective that “traditions used to be pop” to the “discreet but bold” creative practice, it settles into passing down the legacy by “sowing seeds in the young minds,” and seeking international dialogue with “reverse adaptation.” His work is more than reviving a musical art; it revitalizes a system of emotional expressions that is deeply embedded in language and geography, so as to “go into people’s heart” once again in a new state, in a new era. Just like Namyaam’s musicality, the path is winding yet determined. In an age-old accent, it hums about the contemporary reflection on culture.

Adapted from Jin Yong’s novel The Smiling, Proud Wanderer

Naamyam Composer, Lyricist: Yeung Kin-ping

The winds are cold, the rain gloomy in the dark night.
Whiffs of smoke scatter along the journey home.
The world of martial arts is in turmoil,
dominated by bloodshed rather than romance.
Some want to turn away from it forever.
Yet the path leads only to the river of no return,
ridden by debts of gratitude and the duty to avenge.
Enmity and sin can never be uprooted.

Yan Er Luo (Melodic structure)

What baseless claims by such rogues.

They had no shame, adding to the world’s turmoil.

Huashan swordsmanship is of the highest calibre.

Who dares challenge us?

Gu Mei Jiu (Melodic structure)

I recall last year in the twelfth month…

I recall last year in the twelfth month,

all of us disciples practiced in the snow.

We marvelled at the power of “Boundless forest”.

As swords flashed above,

snowflakes filled the sky and earth.

Tai Ping Ling (Melodic structure)

Look at these repulsive poses.

With bodies crouching, they’re unsightly.

I feel a chill. They look hideous.

“Boundless forest” is a true marvel.

This club may look clumsy, but it’s effective.

Although it has a strange shape, it’s strong.

Oh! Suddenly I’m overcome by despair, I want to give up.

Shou Jiang Nan (Melodic structure)

Ah! I’m grateful to Elder Feng who taught me

“Nine Swords of Dugu” that enlightened me.

He opened a new vista for me.

Elder Feng, you’re a sword master.

Elder Feng, you’re a sword master.

You’ve provided me with something beautiful.

Shou Wei (Melodic structure)

I learned this sword sequence from you

thanks to good fortune.

Having learnt this skill below the Maiden Peak,

in the coming years

I’ll devote myself to Huashan’s betterment.

Original Novel: Jin Yong
Director / Arts Tech Installation: Mathias Woo
Xiqu Director: Zhou Long
Demonstration / Performers: Ren Jia-le, Yeung Kin-ping, Zachary Pink YUNG
Naamyam Composer & Lyricist: Yeung Kin-ping

Technical Advisor, Lighting Designer: Mak Kwok-fai
Sound Designer: Anthony Yeung

Senior Manager (Production and Technical): Chow Chun-yin
Video, Live Feed, Server Base Control System: Yu Pui-ho, Benny Woo, Johnny Sze
XR video shooting: Votion Studios

Stage Manager: Onki Chan
Deputy Stage Manager: Cedric Chan
Installation Design Executive: Liu Si
Sound Operator: Cheng Wai-kuen
Lighting Operator: Kenneth Keung
Creative Assistant: Chloe Li
3D Modeling & Arts Tech Assistant: Xu Fan-qi
Arts Tech Assistant / Surtitle Operator: Vanilla Guo
Make-up / Hair-styling: Guo Ting, Lee Wing-hung, Billie Siu
Wardrobe: Bonnie Chan
Stage Crew: Sze Chun-yue, So Long-ting

Coding: Cordex Intelligence Limited (Frankie Pang, Derek Tsang, Ronald Shea, Tiffany Leung)
Coordinators: Ho Yin-hei, Chow Chun-yin
User Interface Design Execution: Alva Lam, Coco Cheung
Research: Chuk Yin-man, Zachary Pink Yung

International Exchange Director: Wong Yue-wai
General Manager (Administration and Finance): Jacky Chan

General Manager (Programme): Doris Kan
Senior Manager (Programme): Bowie Chow
Administration Manager: Colin Cheng
Programme and Promotion Manager: Momoko Ng
Assistant Manager (Programme): Niki Luk
Project Assistant: Yumi Hui
Front of House Assistants: Ricky Cheng, Carson Chung, David Yeung

Public Relations: Link-Work Communications
Publicity Coordinator: Luka Wong
Ticketing & Digital Marketing: Ho Yin-hei

‘Jin Yong Xiqu Theatre – The Smiling, Proud Wanderer’ Key Visual Design: Lee Ken-tsai
Graphic Design (Poster): Pollux Kwok, Tian Ye
Photography: Nobby Chung, Tree Lo
Video Documentation, Trailer Editing: Tree Lo
Amination for Promotion: Xiao Ru-ting
Graphic Design for Promotion: Carol Mak
Translation for Promotion: Mona Chu, Gladys Chiu, Mo-Yung Yuk Lin

Interns: Reina Lo*, Wong Lok-chee, Kelly Zhong

*Hong Kong Institute of Information Technology (HKIIT) Higher Diploma in Theme Park and Theatre Creative Technology

Volunteers: Aatikah Kashan, Chan Lok-ching, Silvia Chui, Tris Lo, Clara Ng, Chéri Wong, Carson Yeung

Creative Director: Mathias Woo
Illustrator: Lai Tai-wing
Tarot Advisor: Theresa Leung
Graphic Design Assistant: Coco Cheung

Ming Ho Publications
Jiangsu Performing Arts Group Kunqu Troupe
Eslite Bookstore
Kubrick

Mr Shi Xia-ming
Ms Kitty Yip
Mr Zhao Yu-tao

Its premiere in 2024 was funded under the Arts Technology Funding Pilot Scheme by the Government of the Hong Kong Special Administrative Region.

Zuni is proud to launch its Xiqu mobile app, offering a fun and accessible way to explore traditional performing arts. Through text, images, and video demonstrations, this multimedia experience brings the heritage of Xiqu closer to everyday life.

Visit the themed installations outside the theatre! Before or after the performance, use the app to scan the patterns on the banners and discover hidden surprises.

Supported Languages: Traditional Chinese, English, Simplified Chinese

Featured Content: The Performer’s Craft, Xiqu Roles, Stage Symbols, Xiqu Coding

Free Download (iOS)

Free Download (Android)

Scan the Illustrations

In the 25/26 season “Hong Kong Style Experiment,” Zuni continues its cross-disciplinary creative journey. This includes the “Theatre Tarot” series—a collaborative creation by Mathias Woo and comic artist Lai Tat Tat Wing—extending the theatrical imagination beyond the stage.

Each of the four productions in this season features its own exclusive series of tarot cards, inviting you to engage in a visual dialogue with the performance. Observe closely and you will find the visual language of the tarot overlapping wonderfully with the stage narrative, offering a unique perspective for every show.

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