The Tang Xianzu Memorial Hall in Fuzhou is a comprehensive cultural venue built to commemorate Tang Xianzu, one of the world’s hundred great cultural figures and a master of Ming‑dynasty drama in China. It is also one of Jiangxi Province’s ten major memorial halls dedicated to historical luminaries.
Opera Trivia | What Roles Do Fans Play on the Opera Stage?
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2022-12-15
The preparation of a traditional theatrical script is itself a painstaking endeavor, and even the smallest props and every object in the play serve a specific purpose. Items such as curtains, large stage backdrops, mock cityscapes, tables, and chairs can all be adapted to suit the demands of the drama; thus, even the tiniest element bears a profound connection to the performance.
The fan, in drama and for the characters within it, is not merely a device for indicating the weather; it can also help to enhance the actors’ gestures, lending them an aesthetic polish. Thus, the fan is itself a form of theatrical art, of considerable significance to the performance itself, and its use is independent of season—whether winter or summer.
In the old operas, the season was entirely irrelevant; regardless of the setting, the qingyi invariably wore a single-layered robe, the xusheng donned a padded jacket or a padded official’s coat, and the huashan was required to wear a puffy jacket. Consequently, the fan had no real connection to the play’s climatic context—it served merely to enhance the performer’s expressive techniques.
Moreover, the xiaosheng and xiaohualian roles make particularly frequent use of the fan; hence the former is often referred to as the “fan‑bearing role,” as seen in such examples as Bian Ji in “Hua Tian Cuo,” Qiu Shan in “Yi Cui Hua,” and Jia Baoyu in “Qian Jin Yi Xiao.” The expressions of the fan‑bearing role must convey an air of elegance and refinement, avoiding any trace of vulgarity; only a gentle, poised, and graceful demeanor truly captures the essence of this type. After all, it is precisely the fan that lends these characters their distinctive charm and dashing appeal.
In the theater, the fan dance also occupies a prominent position, holding equal value to the sleeve dance. For instance, in “Drunkard,” Yang Guifei and in “The Red Plum Pavilion,” Hui-niang both employ the fan to showcase their stage‑dance artistry, clearly demonstrating the significant role of the fan in theatrical performance.
Although the fan is a widely used prop, it sometimes appears in ways that seem rather arbitrary—for instance, in theatrical portrayals of Kongming, who is invariably shown holding a feather fan. It is unclear who first introduced this convention. Whether in leading roles or supporting ones, Kongming is almost always depicted with a feather fan, a silk turban, and a robe adorned with the Eight Trigrams pattern. The underlying idea seems to be that the fan is not merely a fan at all, but rather a symbolic substitute for the command flags and arrows used to direct an army. I once saw a bangzi troupe perform a Three Kingdoms play in which Kongming would sometimes appear in his customary feather‑fan and silk‑turban ensemble, clad in the Eight Trigrams robe; yet at other times he donned the official sable‑trimmed cap, a yellow dragon‑patterned robe, and a jade belt—signifying his status as a high‑ranking statesman. Upon closer reflection, such costuming is not entirely without rationale. When a chancellor assumes his post and presides over military councils, he must adhere to the prescribed courtly attire, and distinctions of rank cannot be set aside—especially in the case of Kongming, whose role demands that he never appear in casual dress. In my view, when Pihuang troupes stage this character, there is indeed some need for modest reforms, so as to bring the portrayal into line with the true spirit of the drama.
The functions of the fan, as outlined above, are manifold, and its techniques are even more diverse. From this, it is clear that the relationship between the fan and the theater is of indispensable importance. (The author of this essay is Chen Diesheng; it was written in 1939. The passage is excerpted from “Selected Materials on Peking Opera from the ‘Liyan Pictorial’,” edited by Chen Zhiming and Wang Weixian, published by Xueyuan Press.)
The fan, in drama and for the characters within it, is not merely a device for indicating the weather; it can also help to enhance the actors’ gestures, lending them an aesthetic polish. Thus, the fan is itself a form of theatrical art, of considerable significance to the performance itself, and its use is independent of season—whether winter or summer.
In the old operas, the season was entirely irrelevant; regardless of the setting, the qingyi invariably wore a single-layered robe, the xusheng donned a padded jacket or a padded official’s coat, and the huashan was required to wear a puffy jacket. Consequently, the fan had no real connection to the play’s climatic context—it served merely to enhance the performer’s expressive techniques.
When characters enter the scene, unless they bear a distinctive expression, they must hold a fan in a poised gesture; otherwise, with their hands empty, even an excellent stance can feel somewhat lacking. Lacking appropriate accompaniment, such gestures fail to compensate for any shortcomings in their performance.
Warriors may be accompanied by swords, spears, and riding whips, dispelling monotony; yet sometimes they also wield fans, as seen in Fei Degong from “The Temple of the Eight Offerings” and Gao Deng from “The Sunny Pavilion”—both are typical examples. As for sheng roles, there are such figures as Hong Lan Pao in “Yu Tang Chun,” Li Keyong and Cheng Jingsi in “The Pearl Curtain Fortress,” and Lu Bing in “A Handful of Snow.” Among these, Lu Bing’s fan is particularly central, for the crucial moment of the stabbing scene hinges entirely on the fan’s gestures; thus, it must never be put down.
Warriors may be accompanied by swords, spears, and riding whips, dispelling monotony; yet sometimes they also wield fans, as seen in Fei Degong from “The Temple of the Eight Offerings” and Gao Deng from “The Sunny Pavilion”—both are typical examples. As for sheng roles, there are such figures as Hong Lan Pao in “Yu Tang Chun,” Li Keyong and Cheng Jingsi in “The Pearl Curtain Fortress,” and Lu Bing in “A Handful of Snow.” Among these, Lu Bing’s fan is particularly central, for the crucial moment of the stabbing scene hinges entirely on the fan’s gestures; thus, it must never be put down.
Moreover, the xiaosheng and xiaohualian roles make particularly frequent use of the fan; hence the former is often referred to as the “fan‑bearing role,” as seen in such examples as Bian Ji in “Hua Tian Cuo,” Qiu Shan in “Yi Cui Hua,” and Jia Baoyu in “Qian Jin Yi Xiao.” The expressions of the fan‑bearing role must convey an air of elegance and refinement, avoiding any trace of vulgarity; only a gentle, poised, and graceful demeanor truly captures the essence of this type. After all, it is precisely the fan that lends these characters their distinctive charm and dashing appeal.
In the theater, the fan dance also occupies a prominent position, holding equal value to the sleeve dance. For instance, in “Drunkard,” Yang Guifei and in “The Red Plum Pavilion,” Hui-niang both employ the fan to showcase their stage‑dance artistry, clearly demonstrating the significant role of the fan in theatrical performance.
Although the fan is a widely used prop, it sometimes appears in ways that seem rather arbitrary—for instance, in theatrical portrayals of Kongming, who is invariably shown holding a feather fan. It is unclear who first introduced this convention. Whether in leading roles or supporting ones, Kongming is almost always depicted with a feather fan, a silk turban, and a robe adorned with the Eight Trigrams pattern. The underlying idea seems to be that the fan is not merely a fan at all, but rather a symbolic substitute for the command flags and arrows used to direct an army. I once saw a bangzi troupe perform a Three Kingdoms play in which Kongming would sometimes appear in his customary feather‑fan and silk‑turban ensemble, clad in the Eight Trigrams robe; yet at other times he donned the official sable‑trimmed cap, a yellow dragon‑patterned robe, and a jade belt—signifying his status as a high‑ranking statesman. Upon closer reflection, such costuming is not entirely without rationale. When a chancellor assumes his post and presides over military councils, he must adhere to the prescribed courtly attire, and distinctions of rank cannot be set aside—especially in the case of Kongming, whose role demands that he never appear in casual dress. In my view, when Pihuang troupes stage this character, there is indeed some need for modest reforms, so as to bring the portrayal into line with the true spirit of the drama.
The functions of the fan, as outlined above, are manifold, and its techniques are even more diverse. From this, it is clear that the relationship between the fan and the theater is of indispensable importance. (The author of this essay is Chen Diesheng; it was written in 1939. The passage is excerpted from “Selected Materials on Peking Opera from the ‘Liyan Pictorial’,” edited by Chen Zhiming and Wang Weixian, published by Xueyuan Press.)
Article Source: Kunqu Opera Culture
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