Illustration: Liu Xidan/GT

Editor's Note:

Contemporary literary works are increasingly being presented on stage in the form of traditional Chinese operas. This represents a win-win choice for both literature and operas, serving as an artistic process that unleashes the modern essence of literature while supporting the innovative development of traditional opera. This article by Kong Peipei, a deputy director and researcher of the Institute of Chinese Opera Studies of the Chinese National Academy of Arts, focuses on transformation path of literary works as they take the stage of operas.

Kong Peipei

In recent years, adaptation of acclaimed contemporary literary works to operas has become a prominent phenomenon in the creation of modern opera. 

Several Mao Dun Literature Prize-winning novels have been adapted for the stage, such as Red Poppies (a novel written by Alai) into Sichuan opera, White Deer Plain (a novel by Chen Zhongshi) into Qinqiang opera, The Leading Role (a novel by Chen Yan) into Peking opera, and Massage (a novel by Bi Feiyu) into Yangzhou opera. Lu Xun's renowned story Blessing has also been continuously adapted across genres - including Yue, Ping, Yu and Huai operas - while the Henan Qu Opera Art Center recently reimagined it as Luzhen. The Ping opera Xiangzi and Huniu, based on Lao She's Rickshaw Boy, has remained a staple for over 20 years.

This phenomenon is partly because outstanding literary works offer strong characters and compelling plots - what might be called an "IP effect." ­Additionally, as original modern operatic works are difficult to create and truly exceptional pieces remain scarce, adapting recognized literary works - especially those with major awards - presents a comparatively low-risk creative path.

Transforming a novel into an opera involves more than simply retelling a story; it requires bridging the gap between literary qualities and the demands of theatrical performance. Playwrights must translate written text into forms that can be heard, seen and performed, using the stage to generate dramatic tension. A successful adaptation balances literary beauty with dramatic expressiveness - a principle that is especially critical in opera.

The Yangzhou opera Massage is a standout example. The original novel is structured with each chapter focusing on different characters, weaving together the lives of blind masseurs at the "Sha Zongqi Massage Center." This fragmented multi-faceted narrative style is rare in fiction writing and brings great difficulties for stage theater adaptation. To meet the opera's need for a clear dramatic arc, the adaptation streamlined the story, centering on the relationship between the heroine Du Hong and the hero Sha Fuming. The opera uses Du's beauty and the emotional currents it stirs as the main dramatic driver, exploring the blind masseurs' pursuit of beauty, longing for love and insistence on dignity.

While Massage represents an adaptation through reduction and focus, the Henan Qu opera Luzhen takes a different approach. Unlike earlier versions of Xianglin Sao (lit: sister Xianglin), playwright Chen Yongquan retained the central fate of Xianglin Sao but wove in characters from across Lu Xun's works, including Madman, Ah Q, Kong Yiji and others. This reimagining shifts the narrative from an individual tragedy to a collective portrait of the residents of Luzhen township, deepening the play's themes and expanding its perspective. The script even introduces a new character, Lu Dingping, a revolutionary whose path diverges from that of the typical Luzhen resident, highlighting new creative ideas.

Moving from literature, anchored in abstract textual symbols, to opera, which is a multisensory art form, requires more direct emotional engagement and value expression within a limited timeframe. The script must communicate its core message clearly and provide moments that resonate with audiences. Opera, which integrates singing, recitation, acting and martial arts, presents its own unique artistic challenges in adaptation, including considerations of genre compatibility, theatrical conventions and casting.

Besides, regional characteristics often play a crucial role in adaptation. When a literary work is deeply rooted in local culture and dialects, choosing the region's representative opera genre is often most effective. For example, Massage is set in Nanjing, capital of East China's Jiangsu Province, and Yangzhou's massage culture is widely known. Using Yangzhou opera, popular in Yangzhou and Nanjing, gives the adaptation a distinctive advantage: Its exquisite singing, soft dialect, and stylized movements vividly express the spirit of the original. As the director Guo Xiaonan noted, "This play belongs to this genre."   

However, such alignment isn't always necessary. Cross-regional and cross-genre adaptations are not uncommon. For instance, The Leading Role by the China National Peking Opera Company, adapted from Chen Yan's novel about a Qinqiang opera star, shifted the setting to a Peking opera troupe and transformed the protagonist into a Peking opera actress. To cement the genre transition, the production included some classic ­Peking opera characters and "play within a play" scenes, showcasing the genre's grandeur, though some of the original's regional flavor was inevitably lost.

Opera adaptations also reshape characterization and endings according to the medium's needs. In Luzhen, the role of Lu Si, once a one-dimensional antagonist, is given humorous traits through the comedic Caidan role, softening her conflict with Xianglin Sao. The ending of Massage adds scenes of mutual support among the blind masseurs, increasing the play's warmth compared to the novel's open ending. In Xiangzi and Huniu, the focus shifts to highlight Huniu's agency, aligning with the opera's emphasis on the female lead.

All these are examples of how opera modifies literature according to its own artistic logic. 

Nowadays, exploring and expressing modernity is a key principle for the evolution of Chinese opera. Adapting and reinterpreting contemporary literary works on the opera stage is a process of unleashing the modern essence of literature, helping traditional opera realize creative transformation and innovative development.

Compared to wholly original scripts, opera adaptations of literary works must also respect the artistic laws of opera and audience expectations. They must preserve the soul and spirit of the novel while constructing a stage world that fits operatic conventions. The highest aim is for audiences to experience both the literary appeal of the original and the artistic beauty of opera - a true integration of the two art forms.

The author is a deputy director and researcher of the institute of Chinese opera studies of the Chinese National Academy of Arts