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Wudan
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The wudan (Chinese: 武旦; pinyin: wǔdàn; lit. 'martial female') is a female role type in Chinese opera and a subtype of the dan. Wudan characters are warrior maidens in combat, and wudan actors (almost always actresses) must be trained in martial arts with theatrical versions of traditional weapons, as well as in acrobatics and gymnastics.
The hair and makeup is similar to that of other young dan roles.[1]
Subtypes
[edit]The wudan can be further divided into two subtypes, the duanda wudan and the daomadan; the latter wears an "armor" on-stage.
Duanda wudan
[edit]The duanda wudan (Chinese: 短打武旦; pinyin: duǎndǎ wǔdàn; lit. 'short-shirt wudan') is a female who fights independently of a horse or an army. It can be a female youxia, like the heroine of Hongxian; or a supernatural being who has transformed itself into a women, like Bai Suzhen and Xiao Qing from the Legend of the White Snake. In Peking opera, the zhan'ao zhanqun (戰襖戰裙; "martial shirt, martial skirt") costume is worn, which consists of a jacket, a skirt, and trousers; as are additional skirt flaps and flat ankle boots known as xiaomanxue (小蠻靴; "small barbarian boots").[2]
Daomadan
[edit]The changkao wudan (simplified Chinese: 长靠武旦; traditional Chinese: 長靠武旦; pinyin: chángkào wǔdàn; lit. 'long-armor wudan'), better known as the daomadan (刀马旦; 刀馬旦; dāomǎdàn; 'blade-horse female'), is a woman, often an army commander, who fights on horseback in battles. Popular daomadan characters include Mu Guiying from the Generals of the Yang Family and Hu Sanniang from the Water Margin. In Peking opera, the daomadan wears a long "female armor" (女靠; nükào), which is similar to that worn by their male counterparts but with flower and phoenix embroidery as well as multicolored streamers hanging from the waist.[3] The armor is usually in red or pink. The armor restricts movement, so the daomadan is less acrobatic compared to the duanda wudan. For more freedom a "reformed armor" (改良靠; găiliángkào), which lacks the four flags in the back and fits more closely to the body, can be worn.[4] Her helmet is attached to two lingzi (long pheasant feathers). The commonly used weapon is a long-poled dao (blade) or qiang (spear).[5]
Skills
[edit]In addition to singing, wudan actresses must also be trained in martial arts, gymnastics, and acrobatics, just like their male counterparts (wusheng). A unique skill for the wudan actress is "kicking the spears" (打出手; dǎchūshǒu; 'beat out-of hand') which is unused in wusheng roles. In such a combat scene the wudan is in the middle of the stage surrounded by her enemies, each holding a couple of light double-headed spears with tassels at each ends. The enemies toss their spears for the heroine to kick back in various ways, which is meant to mimic deflections in battles. The result is fast-paced action (if the actress is good) with many spears flying through air simultaneously.[6]
Cross-gender acting
[edit]Male wudan actors are extremely rare. Yang Rui-Yu (楊瑞宇), a Taiwanese Peking opera performer who graduated from the National Academy of Chinese Theatre Arts in Beijing, has been called the only active male wudan actor. He is with Wu Hsing-kuo's Contemporary Legend Theatre (當代傳奇劇場).[7]
On the other hand, it's common for (shorter) wudan actresses to play males, i.e. wawasheng (Chinese: 娃娃生; pinyin: wáwáshēng; lit. 'child male') or boy characters who can fight with weapons. These include Liu Chenxiang from The Magic Lotus Lantern, Zhao Wu from The Orphan of Zhao, and Yang Wenguang from Women Generals of the Yang Family.
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References
[edit]- ^ Bonds, p. 10.
- ^ Bonds, pp. 10–11.
- ^ Bonds, pp. 11, 13–14.
- ^ Bonds, p. 248.
- ^ Bonds, pp. 11, 13.
- ^ Siu & Lovrick, pp. 94–99.
- ^ "我不是台灣唯一男武旦?/楊瑞宇". Radio Taiwan International (in Chinese). 17 April 2021. Retrieved 31 March 2023.
- Bonds, Alexandra B. (2008). Beijing Opera Costumes: The Visual Communication of Character and Culture. University of Hawaiʻi Press. ISBN 978-0-8248-2956-8.
- Siu Wang-Ngai; Lovrick, Peter (2014). Chinese Opera: The actress's Craft. Hong Kong University Press. ISBN 978-988-8208-26-5.
Wudan
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Overview
Definition and Characteristics
Wudan (武旦, wǔdàn), often translated as the "martial dan," is a specialized role type within the broader dan category of female characters in Chinese opera, particularly prominent in Peking opera.[2] This role depicts women who are proficient in combat, embodying warrior maidens or fierce fighters who engage in dynamic battle sequences.[1] As a subset of dan roles, which generally represent diverse female archetypes ranging from virtuous to vivacious, wudan uniquely highlights physical confrontation and heroic action over domestic or romantic narratives.[1] The primary characteristics of wudan center on portraying combative women who demonstrate exceptional agility, strength, and precision in theatrical combat.[2] Performers in this role must convey a blend of feminine grace and martial ferocity, executing routines that prioritize explosive movements and endurance rather than nuanced emotional subtlety.[1] In contrast to other dan subtypes like the qingyi, which focuses on elegant and morally upright women through refined gestures and singing, or the huadan, which emphasizes coquettish vitality and wit, wudan underscores battle-ready prowess and high-stakes physicality.[1] This distinction positions wudan as the action-oriented counterpart within the female role spectrum, often driving plot progression through confrontations.[8] Physically demanding, the wudan role requires actresses to possess athletic builds and undergo rigorous training in martial arts, acrobatics, and gymnastics to perform flips, kicks, and weapon simulations without faltering.[6] Such preparation fosters the flexibility and stamina needed for sustained high-energy scenes, ensuring the portrayal remains convincingly feminine amid intense exertion.[9] This emphasis on bodily discipline distinguishes wudan performers, who must balance aesthetic poise with raw power in every routine.[1]Role in Chinese Opera
In Chinese opera traditions, particularly Peking opera (Jingju), the wudan role integrates as a specialized subtype of the dan, representing female characters who are heroic or supernatural fighters drawn from narratives rooted in history, folklore, and mythology.[2] These roles embody warrior maidens, deities, or ghostly figures who engage in dynamic combat sequences, often portraying independent heroines or loyal combatants that propel the storyline forward through physical action and confrontation.[1] Unlike more passive dan variants focused on emotional expression, wudan characters introduce vigorous martial elements, contrasting with the graceful or domestic portrayals of other female roles to heighten dramatic tension and visual spectacle.[10] Within the foundational framework of Peking opera's four main role types—sheng (male leads), dan (female leads), jing (painted-face archetypes), and chou (comic relief)—the wudan serves as a martial subset of the dan category, ensuring ensemble balance by mirroring the acrobatic and combative demands of male wusheng roles.[3] This positioning allows wudan performers to counterbalance the predominantly male-driven action sequences, creating symmetrical confrontations that underscore themes of valor and resilience in ensemble performances.[3] By emphasizing physical prowess over vocal melody, wudan roles facilitate narrative progression through stylized fights and feats, integrating seamlessly into the opera's episodic structure derived from legendary tales.[10] The cultural significance of the wudan lies in its depiction of empowered female figures, who challenge traditional gender norms by embodying strength, agility, and agency in a performative art form historically shaped by Confucian ideals and imperial patronage.[1] These representations influence audience perceptions of gender in Chinese performance traditions, highlighting women's potential as active protagonists in stories of heroism and supernatural intervention, thereby enriching the opera's role as a vehicle for cultural transmission and social commentary.[2]Subtypes
Duanda Wudan
Duanda wudan (短打武旦), a subtype of the wudan role in Peking opera, refers to agile female characters who engage in solo combat on foot, without reliance on mounted maneuvers or group formations. These roles typically portray independent fighters such as youxia, or wandering heroes, and supernatural beings like spirits or deities, emphasizing individual prowess in battle.[2][11] Key examples of duanda wudan characters include Xiao Qing from The Legend of the White Snake (白蛇传), the green snake spirit who assists her companion in confrontations, showcasing dynamic swordplay and evasion. Similarly, Bai Suzhen, the white snake protagonist, often incorporates duanda wudan elements in scenes requiring defensive combat against adversaries. These portrayals highlight fluid, acrobatic sequences that advance the narrative through physical expression rather than dialogue-heavy exchanges.[12][13] The combat style of duanda wudan centers on hand-to-hand techniques, including rapid strikes, flips, and somersaults, executed with precision to convey speed and agility. Performers employ specialized skills like da shou (hand-fighting routines) to simulate intense, close-quarters engagements, prioritizing dexterity over raw power. This approach allows for independent action, distinct from coordinated battlefield scenes.[11][2] In physical portrayal, duanda wudan emphasizes lithe movements and explosive athleticism, requiring performers to master gymnastics and martial arts fundamentals for realistic yet stylized depictions of heroism. Training for these roles involves rigorous practice in flips, balances, and quick directional changes to embody the character's nimble, unyielding spirit.[2][13]Daomadan
The daomadan (刀马旦), a subtype of the wudan role in Chinese opera, particularly Peking opera, represents equestrian female warriors who portray characters leading troops on horseback, often as army commanders or generals in historical narratives.[14][2] This role emphasizes mounted combat and military authority, distinguishing it through depictions of high-status battlefield figures who command forces rather than engaging solely in individual feats.[1] Prominent examples of daomadan characters include Mu Guiying from the epic Generals of the Yang Family, where she leads Yang family troops in major campaigns, and Hu Sanniang from Water Margin, depicted as a valiant warrior princess directing cavalry in large-scale battles.[14][15] These portrayals draw from legendary historical and literary sources, featuring elaborate scenes of troop formations and strategic engagements that highlight the character's leadership.[2] The combat style of the daomadan incorporates simulations of horse-riding through stylized movements and props, enabling performers to depict charges and group maneuvers that convey tactical coordination on stage.[1][2] This approach underscores strategic command, with the performer directing imaginary soldiers via broad gestures and rhythmic pacing, often building to climactic ensemble sequences in battle tableaux.[14] While sharing the acrobatic foundations of wudan roles, daomadan performances prioritize mounted dynamics over ground-based agility.[15] In physical portrayal, daomadan actors project authority and valor through expansive, imposing movements that blend martial vigor with feminine poise, often accentuated by heavy armor and flowing flags to evoke a commanding presence.[1][14] This stylized embodiment requires endurance for sustained action sequences, emphasizing a dignified posture that conveys both strategic resolve and heroic stature.[2]Costumes and Props
Attire for Subtypes
Wudan attire in Chinese opera, particularly Peking opera, prioritizes functionality for martial arts and acrobatics while incorporating feminine stylistic elements to denote gender and character type. Costumes generally feature layered constructions using silk or satin fabrics that allow unrestricted movement, with padded elements for protection during falls and tumbles, and are often adorned with embroidery to symbolize status or personality traits. For the duanda wudan subtype, representing young, agile female warriors, the primary costume is the zhan'ao zhanqun, consisting of a short, fitted jacket (zhan'ao) over a skirt and trousers ensemble that permits swift, acrobatic actions such as flips and dodges. This outfit is complemented by xiaomanxue, low-heeled boots designed for precise and rapid footwork in combat sequences.[16] The attire's compact design reflects the subtype's emphasis on nimble, youthful energy, often in lighter fabrics to enhance speed. In contrast, daomadan costumes embody grandeur and authority for more mature or supernatural warrior women, featuring the nükào, a long female armor suit with extended skirts and flowing sleeves tailored to feminine proportions. This armor is richly embroidered with phoenix or floral motifs in bold red or pink hues, evoking heroism and vitality while accommodating simulated horseback maneuvers through reinforced structuring around the hips and shoulders. The elaborate layering and metallic accents in the nükào underscore the character's elevated, often divine status.[17] Symbolic aspects of wudan attire further distinguish subtypes: vibrant reds and pinks signify bravery and loyalty, while phoenix embroidery denotes supernatural prowess or imperial favor, integrating visual cues that reinforce the roles' heroic narratives without impeding performance.[18]Weapons and Equipment
In Peking opera, wudan roles employ a variety of lightweight, stylized weapons and props crafted from materials like wood, aluminum, or fabric to ensure performer safety during exaggerated, acrobatic combat sequences. These items, including swords, spears, and flags, prioritize theatrical symbolism and ease of handling over realism, allowing for dynamic martial displays without risk of injury.[19][20] For the duanda wudan subtype, which focuses on agile, infantry-style fighting, performers use short-handled weapons such as compact swords or daggers designed for rapid spins, flips, and close-quarters maneuvers. These props are intentionally lightweight and balanced to support high-energy acrobatics, often emphasizing hand-to-hand elements where weapons enhance rather than dominate the action.[1][21] In contrast, daomadan roles, portraying mounted female warriors, incorporate larger props like dao broadswords and qiang spears for simulating charges and battles on horseback, alongside horsewhips waved to mimic riding and command banners or flags to represent troop leadership. The four rear flags attached to daomadan armor, often dragon-emblazoned in colors symbolizing nobility or might, further denote military status and are shaken to evoke movement or environmental effects during performance.[1][19][22] All wudan equipment is engineered to withstand repeated acrobatic impacts, integrating with rigorous training in martial arts to prevent injuries while maintaining the stylized elegance of the form.[19][1]Performance Techniques
Martial Arts and Acrobatics
The wudan role in Chinese opera demands a profound integration of martial arts (wushu), gymnastics, and dance to depict combat scenes that are both realistic and highly stylized, allowing performers to convey intense physical confrontations through choreographed sequences that blend fluid movements with explosive action.[23][24] These core skills enable wudan actresses to portray female warriors with agility and grace, executing intricate dance sequences synchronized to rhythmic percussion that heighten the dramatic tension of battles.[23][25] In performances, martial subcategories like wudan emphasize combat intertwined with dance-acting, where unarmed and weapon-based fights simulate violence without physical contact, relying on precise timing and spatial awareness to maintain the illusion of ferocity.[24] Training for wudan performers is rigorous and lifelong, beginning in childhood and focusing on building flexibility, strength, coordination, and endurance to sustain extended fight scenes that can last several minutes onstage.[1] Intensive daily practice includes acrobatic drills such as somersaults and leaps, alongside martial exercises that develop extreme abdominal power for dynamic steps like the "run the round field" technique, ensuring performers can execute complex routines with apparent effortlessness.[24] This regimen, often spanning years at specialized academies, hones the physical articulation needed for gravity-defying feats, where coordination with ensemble members and props is paramount to avoid mishaps during high-stakes performances.[25][1] A hallmark of wudan execution lies in combining precision strikes—delivered with exact control to align with musical cues—with theatrical exaggeration that amplifies emotional and visual impact, such as elongated gestures or heightened somersaults that symbolize supernatural prowess in warrior characters. These elements create a codified language of movement, where stylized combat avoids realism in favor of aesthetic beauty and narrative clarity, as seen in sequences that build from slow, deliberate poses to rapid, vigorous clashes.[27] Performers achieve this distinction through deep mastery of conventions, ensuring that acrobatic flourishes not only entertain but also advance the story's heroic themes.[1]Vocal and Singing Styles
The vocal profile of wudan roles in Peking opera employs higher-pitched singing in a bright timbre, typical of dan female characters, to emphasize elegance and energy in martial contexts.[28] This style is more rhythmic and less elaborately melodic than the sustained, lyrical approaches of other dan subtypes, such as qingyi, aligning with the dynamic demands of warrior portrayals.[28] The singing style, centered around the fifth and sixth degrees in pitch histograms, supports a penetrating sound that conveys heroism without the deeper chest voice of male roles.[29] Arias in wudan performances integrate seamlessly with martial action, drawing from the xipi (lively and high-pitched) and erhuang (steady and deep) melodic systems, demonstrating their adaptation for combat timing.[29] Rhythmic banshi patterns—metrical structures varying by tempo and role—sync vocal delivery to the beats of fights and flips, allowing performers to maintain breath control and projection amid physical exertion.[29] This synchronization enhances narrative flow, as every line is rhymed and sung in coordination with gestures and movements.[30] Expressive techniques feature sharp, forceful tones to heighten battle intensity, alongside subtle vocal modulations that shift to reveal underlying emotions like resolve or vulnerability during ongoing action.[31] These elements rely on specialized pronunciation and resonance methods, such as head-voiced projection, to sustain expressiveness.[32] Training for wudan emphasizes rigorous breath support from an early age, incorporating techniques like diaphragmatic control to preserve vocal stability through acrobatics and combat, often spanning 7–8 years of intensive practice.[30][33] Physical skills in martial arts thus enable consistent vocal delivery under strain.[30]Historical and Cultural Context
Origins and Development
The term wudan, combining "wu" (martial) and "dan" (female), denotes the female warrior role in Chinese opera, distinguishing it as a specialized subtype within the broader dan category of female characters.[1] The wudan role traces its origins to the Yuan dynasty (1279–1368), when early dramatic forms began delineating character types, including martial female figures skilled in combat and acrobatics.[1] These precursors evolved through regional opera traditions, notably Kunqu from the Wu region during the Ming and early Qing dynasties, and Huiju (Anhui opera), which introduced stylized martial elements and role specialization.[10] By the mid-Qing dynasty (1644–1912), Huiju troupes performing in Beijing around 1790 for Emperor Qianlong's celebrations blended with local styles, laying the groundwork for Peking opera's formalization of the wudan as a distinct role by the mid-19th century.[10] Key developments in the wudan role were shaped by the prevalence of all-male performing troupes, where male actors (nandan) underwent rigorous, specialized training from a young age to portray female warriors, emphasizing acrobatics and combat over singing.[1] This tradition persisted until the early 20th century, when female performers gradually entered the field, influenced by social reforms. Post-1949, under the People's Republic of China, state-sponsored institutions like the National Academy of Chinese Theatre Arts refined wudan training through structured curricula that integrated traditional techniques with ideological alignment, reviving and standardizing the role after disruptions during the Cultural Revolution (1966–1976).[10][34] Culturally, the wudan evolved from depictions in mythical tales—often portraying gods, ghosts, or supernatural heroines—to representations in historical epics drawn from folklore and dynastic legends, mirroring shifting societal ideals of female agency and strength amid imperial patronage and modern nation-building.[10][2]Notable Performers
Liu Qi (b. 1938), a veteran Wudan performer associated with traditional Peking Opera troupes, has significantly shaped the role through her lifelong dedication to martial arts and acrobatics training. Beginning her career in the mid-20th century, she mastered complex fight choreography and aerial maneuvers, performing in classic warrior maiden roles that emphasized agility and precision. By 2015, at age 77, Liu remained actively involved in mentoring young artists, thereby elevating training standards and ensuring the transmission of authentic Wudan techniques across generations.[35] Historical figures such as Zhu Wenying, Yan Lanqiu, and Song Dezhu (1918–1984) represent foundational pillars of the Wudan tradition, pioneering expressive martial sequences that integrated swordplay, tumbling, and combat realism to captivate audiences during the mid-20th century. Song Dezhu, one of the "Four Little Famous Dan Actresses,"[36] particularly advanced Wudan portrayal through her innovative interpretations of female warriors, blending emotional depth with physical prowess in performances that influenced subsequent artists; her daughter, Song Danju, carried forward this legacy in later productions.[37] In contemporary settings, performers trained at national academies like the China National Peking Opera Company have revitalized Wudan in revivals of historical epics. Shi Yihong (b. 1972), who started her rigorous training as a Wudan at age 9, popularized the iconic role of Mu Guiying—a daomadan subtype warrior—in modern adaptations such as "Mu Guiying Takes Command," where her command of spear techniques and horseback combat sequences drew widespread acclaim and broadened audience engagement with the form's athletic demands.[38][39] Rising talents, including Chen Yu of the Youth Troupe of the Peking Opera Theatre of Beijing, exemplify the next generation's commitment to Wudan excellence, executing high-impact acrobatic feats in ensemble fights that honor classical standards while appealing to diverse viewers. These artists' portrayals of roles like Xiao Qing in "Legend of the White Snake" productions highlight fluid, gravity-defying sequences that underscore the subtype's acrobatic essence, fostering greater appreciation for Wudan's blend of artistry and athleticism.[40][41] In 2025, the China National Peking Opera Company continued to promote wudan roles through international performances, such as at Lincoln Center in New York, featuring contemporary interpretations of classic warrior maidens.[42]Cross-Gender and Modern Interpretations
Male Wudan Performers
In contemporary Jingju (Peking opera), male performers of wudan roles—female warrior characters skilled in martial arts and acrobatics—remain exceptionally rare, as the art form has predominantly shifted to female dan actors since the integration of women into professional troupes after 1949. This scarcity stems from post-revolutionary policies discouraging cross-gender performance in favor of "realistic" portrayals, though males occasionally take on these roles due to their vocal range advantages in high-pitched singing or practical needs within smaller troupes.[14] A pioneering example is Yang Ruiyu, born in 1991 in Taiwan, who in 2013 became the first male dan admitted to the National Academy of Chinese Theatre Arts since 1949, specializing in wudan under the guidance of teacher Li Yali. Yang's performances emphasize daomadan styles, involving swordplay and mounted combat, as seen in his 2017 portrayal of a female warrior in Making a Pilgrimage to the Golden Top Mountain, where he showcased acrobatic flips and stylized fights that leverage male physicality for enhanced dynamism while adhering to feminine grace. His motivation reflects a broader commitment to reviving the male dan tradition, noting that "male dan have more potential for approaching the ideal, refined and stylized beauty."[14] Another prominent case is Mou Yuandi, born in 1983, who began training around age ten at the Jilin City Branch of Xiqu School and now performs and teaches at Shanghai Theatre Academy, excelling in wudan subtypes such as shangpai and xupai. In Concubine Ming of the Han, a duanda role focused on quick strikes and agile dodges, Mou demonstrates precise martial sequences adapted through years of stylized movement training to convey feminine agility despite a masculine build.[14] These performers navigate significant challenges, including adapting a naturally broader physique via specialized exercises for fluid, rounded motions and using layered makeup to elongate facial features and soften contours for a more delicate appearance. Vocally, they maintain falsetto techniques to emulate dan timbre, often complicated by post-pubertal changes. This practice emerged prominently in the mixed-gender era of the late 20th century onward, diverging from the pre-1912 all-male conventions where male dan established wudan archetypes, and now serves artistic preservation amid evolving troupe dynamics.[14]Adaptations in Boy Roles
In Peking opera, wudan performers commonly extend their specialized martial and acrobatic training to portray youthful male characters, often referred to as "boy roles" or fighting child figures, which demand a blend of agility and energetic expression to depict impulsive young heroes. This doubling of roles capitalizes on the wudan's proficiency in dynamic combat sequences, allowing them to infuse childlike vitality into performances that require both physical prowess and playful demeanor.[43] A prominent example is the portrayal of Nezha, the mythical boy deity known for his rebellious spirit and supernatural battles, frequently enacted by wudan actresses to highlight acrobatic feats alongside youthful exuberance. In the production Havoc in the Heavenly Kingdom, wudan specialist Bai Weichen, trained since age 13 in martial female roles, adapts her skills to capture Nezha's heroic yet childlike personality through intricate weapon handling and aerial maneuvers. Similar adaptations appear in operas like Journey to the West, where wudan agility suits agile boy heroes in mythical confrontations.[43][44] To suit these boy roles, wudan modify their techniques by softening martial movements to convey playfulness and impulsivity, employing lighter, more erratic footwork and gestures that evoke a child's unrefined energy while preserving the precision of combat. Higher-pitched vocal delivery and proportionally smaller props further accentuate the juvenile appearance, distinguishing these portrayals from standard wudan warrior depictions.[1] This adaptability enhances the versatility of wudan within opera troupes, enabling them to fill multiple demanding positions and sustain traditional narratives in resource-limited ensembles. In modern contexts, such skills contribute to international training programs and performances, thereby broadening audience appeal and preserving the art form's relevance.[45]References
- https://scholarspace.manoa.[hawaii](/page/Hawaii).edu/server/api/core/bitstreams/897dfd14-616e-48ce-ad6f-11c984e17359/content