King of Masks, Live!

After our stomachs were filled and our sinuses sufficiently cleared, all interested students had the option of attending a performance of Sichuan Opera and folk arts. Of course I was interested: I’d heard that one of the skills unique to Sichuan Opera is 变脸 (“bian lian” or “changing faces”). Ever since seeing the Chinese film (under the English name “King of Masks”) years ago, I’ve been captivated. Bian lian is a performance art form that mixes drama with slight of hand. Masters of this art form can, up on stage, before the eyes of an attentive audience and in the blink of an eye, change their appearance entirely by changing masks—and even clothes—of different color and style.

But first, some opening acts to warm up the audience. Before the fantastic grand finale of bian lian, the Sichuan folk arts extravaganza also encompassed a huge variety of other performance art forms, all put together in a dramatic spectacular package with the express purpose of wowing tourists. The folk arts aspect I enjoyed and appreciated. The tourist-attracting spectacle… a little over the top. For the opening number, a full orchestra of the sort that would traditionally accompany Sichuan Opera played a piece of music full of clanging gongs and cymbals, shrill bells and whistles and brass. I enjoyed the sound, but saw that other audience members (mostly elderly European tourists) seemed to be sitting through it so they could say they had an “authentic” Chinese experience.

All the orchestra members then walked off stage, leaving behind one incredible erhu maestro. Whether or not you like the sound of erhu (Chinese 2-stringed spike fiddle), you surely couldn’t help but be bowled over by the guy’s skill. He played along the accompaniment of, alas, not a live orchestra, not even a recording of a live orchestra (both of which it seems would have been feasible) but a recording of the most cheesy-sounding electronic music played so loud that it drowned out the sweet sound of his instrument. I tried just to zoom in on the sound of his playing and the sight of his skilled fingers flying across the strings of his instrument while ignoring the painful noise in the background.

The erhu act was followed by a puppet show of sorts that, unlike Western-style puppetry where part of the point is that the puppeteer remains hidden, the puppeteer pranced around on stage right along with his puppet. Like the intimate interactions of two skilled dancers, the puppeteer’s actions and his puppet’s flowed in sync, puppeteer masterfully manipulating the multiple joints of his puppet (attached to iron rods) so well I was convinced the guy must have had some extra arms hidden somewhere. After that, another puppet-related act: hand puppets. One man standing behind a screen used only his two hands to come up with a greater variety of animals and scenes than I thought two hands with light and shadow could create: he started the standard dog, then a rabbit… that then proceeded to be eaten by the dog and coughed back up again (rather convincingly, believe it or not), an owl, an eagle, a graceful galloping horse. All quite impressive. But the best was saved for last: bian lian, the final act.

The spectacle was even more incredible in real time than it was on a TV screen. The performance we saw was designed to shock and awe, and, to me, it succeeded. A troupe of performers paraded around upon the stage and, in the dramatic flash of a flag across a face, a red monkey mask appears in the place of what was just a purple face. The bian lian masters pulled off this feat again and again, each time more dramatic and spectacular, each time adding to my perplexity, as they never gave away any hints as to the secret of their art.

I’d already gotten the impression from the movie (please see it if you get a chance: it’s one of my all-time favorite Chinese films, hands down making it into my top 3) that the secrets of the trade are strictly guarded: Tang Laoshi mentioned that, last year, she tried to arrange for CIEE students to have an introductory class on the art form with this troupe and they automatically refused outright. Their response: “Bian lian is a secret performance technique that has been guarded for centuries! You think we’re about to give it a way to a group of lao wai?” Fair enough. I guess the mystery of it all enhanced the spectacle. For a fantastic finale, a few of the performers took the wow-factor up a few notches: a piece if fabric would flash in front of their body for a split second and be pulled away to reveal an outfit and mask of an entirely different color and design. I was left sufficiently wide-eye and slack-jawed. And for those of you who know about my mask obsession, that just added to the attraction. My childhood dream to run away and join the circus was once again awakened.