Written for Puju Opera actor Nan Zheng, the experimental play, titled Othello: Suspicion, delves into the emotional core of the tragedy. It amplifies the suspicion and jealousy rooted in the characters' human weaknesses, calling for more trust and kindness in love and life.
Similar to the Yueju Opera King Lear, Othello: Suspicion is also set against the background of an ancient state. This adaptation preserves the core conflicts and tragic essence of the original work. Othello, Desdemona and Iago are reimagined as characters imbued with profound Eastern resonance. It explores the timeless themes of human nature, jealousy and suspicion, building a bridge between the spirit of Western tragedy and the narrative aesthetics of the East.
Puju Opera, with a history of roughly five centuries, is known for its powerful vocal style and dynamic performance techniques. One hallmark is feather manipulation — a stylized movement vocabulary that conveys shifting emotional states with striking visual clarity.
"I actually realized that the traditional Chinese opera techniques are truly ingenious while working on the production," says Wei Rui, scriptwriter of Othello: Suspicion.
Wei explains that instead of lengthy passages of lyrics and spoken dialogue to express the complexity and diversity of human nature, actors can simply use the art of sleeve and feather manipulation techniques to convey intricate emotions. Words, conversations and even singing become unnecessary in those moments, demonstrating the subtlety and brilliance of Chinese operas.
The exhibition also featured a Peking Opera adaptation of the French playwright Moliere's The Miser, starring 58-year-old veteran chou (comedic role) performer Mei Qingyang. Traditionally a supporting role, the chou character here takes center stage, mirroring how Wu's lao sheng role leads the Yueju King Lear.
The production retains the story's central tension between love and money while transforming the miser Harpagon into a Chinese figure named Lord Gong. Through a stylized performance and inventive staging, the adaptation reframes the narrative within a distinctly Chinese theatrical logic.
One memorable device is the personification of money itself. Lord Gong dances a waltz with a figure representing wealth, treating it like a lover. The scene humorously yet sharply illustrates how money and desire distort human nature.
The play's development began about four years ago and marks Mei's first attempt to present a Western story entirely through traditional Chinese theatrical language. Despite many new challenges in acting, Mei values such an opportunity to tell a global story, and especially highlights the "inclusiveness" of traditional Chinese culture.
"Small stage, big world. The experimental Chinese opera plays staged in little theaters are usually pioneering and exploratory. As our traditional operas continue to grow, I see such diversity as a good thing with a promising future.
"But one thing we should always remember — we must always uphold our traditions while fostering innovation. That is our root," says Mei firmly with a big smile.
