In 1922, Mei (1894-1961), along with Yang, performed the piece, which later became one of the best-known works in Mei's repertoire. It is also regarded as a classic work from the "Mei School", the performing style he developed.
Fu said that at one time it seemed impossible that the show could be adapted for Zhang, as she was trained by Peking Opera master Zhao Rongchen and had kept up the traditions of the "Cheng School". Developed by Cheng Yanqiu (1904-58), this school was one of the four major performing styles of the genre to emerge in the early 20th century.
Like Mei, Cheng mastered the techniques of men playing female roles, known as nandan. The Cheng School is known for interpreting tragic roles for women with frequent changes in rhythm.
"The two styles of tones, gestures and movements are very different," Fu said. "Zhang had to make lots of changes, challenging both tradition and herself."
To everyone's surprise, Zhang even changed one of the best-known scenes in Farewell My Concubine, in which Yu Ji dances with two swords.
In Mei's signature creation, Yu dances in this scene with Xiang's sword on their last night together before she uses the sword to kill herself.
Unlike Mei's version, in which the swords did not have tassels, Zhang added two long red ones attached to the swords in her interpretation, making her performance more impressive, but difficult.
Fu, a friend of Zhang's who reviews her shows, said, "Her dress had many ornaments, such as pearls and raised embroidery, which became entangled with her swords' tassels as she turned around waving her arms."
The sword-dancing scene lasts about 10 minutes and Zhang practiced for it for a year.
