Gu Weiying is a first-class actress with Northern Kunqu Opera Theatre (in Beijng) and a deputy to the 14th National People's Congress (NPC, China's top legislature). She specializes in performing roles of young, unmarried women (guimendan) and young- to middle-aged women (zhengdan or qingyi) in Kunqu Opera. Gu, the recipient of the 29th China Theatre Plum Blossom Award, and the Best Leading Role Award of the 27th Shanghai Magnolia Stage Performance Award, has portrayed many classical women characters, from different social strata. "I will devote my life to mastering, performing and promoting Kunqu Opera, and to ensuring this treasure οf traditional Chinese culture brims with renewed vitality in the new era," Gu says.
Dedicated Inheritor
Gu hails from Kunshan (a city in east China's Jiangsu Province), the birthplace of Kunqu Opera. Kunqu Opera, formerly known as Kunshan Tone (or Kun Tone for short), is one of the oldest — with a 600-year-plus history — forms of Chinese opera. It is often referred to as the "ancestor of all Chinese operas."
In 2001, Kunqu Opera was listed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by the United Nations Educational, Scientific, and Cultural Organization (UNESCO). In 2008, it was added to the Representative List of the Intangible Cultural Heritage of Humanity (also by UNESCO).
"I have had a strong interest in Kunqu Opera since I was little. In 1994, I enrolled in Suzhou Kunqu Opera Theatre and I studied the classic plays of Kunqu Opera under the guidance of Kunqu Opera artist Liu Jiyan. I spent almost all of my spare time practicing Kunqu Opera," Gu says.
During the summer of 1997, Suzhou Kunqu Opera Theatre invited Kunqu Opera master Zhang Jiqing (1939–2022) to organize a training session. Gu practiced a play, The Peony Pavilion — Seeking Dreams, under Zhang's guidance.
The Peony Pavilion is one of the most famous Kunqu masterpieces. Written by Chinese playwright Tang Xianzu (1550–1616) during the Ming Dynasty (1368–1644), it tells the story of the romance between Du Liniang, a daughter of a wealthy official, and Liu Mengmei, a talented, but underprivileged, young scholar.
After the final show, Gu was praised for her excellent performance; in addition to receiving hearty recognition from the audience, she was given a nickname, Little Zhang Jiqing.
"Since then, my confidence in inheriting Kunqu Opera has been strengthened. I am determined to devote my entire life to Kunqu Opera, and to become a qualified inheritor of Kunqu Opera," Gu says.
Kunqu Opera is a highly comprehensive art form, and it requires one to learn widely from the strengths of others. Gu has never stopped improving her overall quality. She has learned from several accomplished Kunqu Opera artists, such as Zhang Jingxian, Liang Guyin, Wang Fengmei, Lin Ping, and Zhang Guotai. "The great passion for Kunqu Opera, and the persistent pursuit of it, are of great importance for being a good Kunqu Opera performer," Gu says.
She believes one must possess a certain level of cultural literacy to perform Kunqu Opera well, and to create vivid characters. "This is not something that can be achieved overnight. It requires one to be familiar with the development of the plot, the characters' personalities, conflicts and other aspects by reading relevant books and materials, and to express the characters' personalities and emotions through actions, expressions, singing styles and other aspects. The accumulation and understanding of traditional Chinese culture behind the plays are key for performers to improve their performances on the stage," Gu says.
Innovative Performer
Gu has performed many classic roles, including Du Liniang in The Peony Pavilion, Yang Yuhuan in The Palace of Eternal Life, Chen Miaochang in The Jade Hairpin, and Bai Suzhen in The Legend of the White Snake.
She also participated in the creation of two original plays, Li Qingzhao (debut in 2015) and Lin Huiyin (debut in 2021), and she performed the lead roles of Li Qingzhao (1084–1155, a remarkable poet), and Lin Huiyin (1904–1955, an οutstanding architect, scholar, poet and writer), respectively.
Gu's excellent performance in Li Qingzhao earned her the Best Leading Role Award of the 27th Shanghai Magnolia Stage Performance Award in 2017.
For Kunqu Opera performers, creating an original play is a big challenge. The Kunqu Opera stage has mainly featured ancient characters in classical plays inherited from generation to generation. As such, performers must follow the classical ways as they interpret their roles.
"To create original plays, we are 'crossing the river by feeling the stones.' We need to create brand new characters within the frame of Kunqu οpera, and we must constantly refine the script, reorganize stylized acting patterns and hone performance skills," Gu says.
Working on Lin Huiyin, an original, modern play of Kunqu Opera, was a new experience for Gu and her colleagues. They put considerable effort into achieving the integration of ancient art and modern elements.
"The play highlights the artistic expression of the character's emotions and personality, aiming to present a fresh and vivid image of Lin to the audience. We incorporate elements, such as modern stage design, poetry, music and dance, to make the characters more in line with the aesthetic and emotional needs of contemporary audiences. This integration achieves a balance between inheritance and innovation. Such performances not only enable people to be deeply impressed by the elegant and exquisite Kunqu Opera, but also help to build a bridge between the audience and traditional art," Gu says.
Gu read plenty of materials about Lin and her family to gain an in-depth understanding of her life, experiences, personality, thoughts and emotions.
"Immersed in reading, I can sense Lin's gentle and refined demeanor, as well as her quiet and graceful nature. Such a character is naturally in harmony with the moderate and elegant beauty of Kunqu Opera. Lin is mild and intellectual; yet, she also has a strong mind. Her determination and perseverance in protecting ancient Chinese architecture echo the spirit of Kunqu Opera," Gu says.
After having performed so many women's roles on stage, Gu says she has been deeply moved and inspired by the women. "Women now can find the best ways to fulfill themselves while gaining an increasing sense of achievement, happiness and safety. It's reported that a meeting will be held in Beijing in the latter half of this year to mark the 30th anniversary of the Fourth World Conference on Women. I hope the meeting will be a great success, and Chinese women will make greater achievements in various fields," Gu says.
The Promoter
Kunqu Opera is experiencing a revival, as China continues to strengthen efforts — and make remarkable progress — to keep intangible cultural heritage alive.
Gu has seen a growing interest in Kunqu Opera among young people. Nevertheless, she is constantly thinking of ways to bring the art form closer to the public, especially the youth.
"We should not only create and perform plays in a down-to-earth manner, but also expand publicity channels and innovate forms of expressions, to let as many audiences as possible know about and understand the beauty of Kunqu οpera," she says.
As an NPC deputy, Gu has introduced several proposals focusing on inheriting and promoting Kunqu Opera in the new era. She has suggested including Kunqu Opera in the compulsory education curriculum, and establishing an authoritative supervision committee to better preserve Kunqu Opera and promote its long-term development.
Her proposal to include Kunqu Opera in the compulsory education curriculum received a reply from China's Ministry of Education. It was stated in the reply the ministry will strengthen the education of fine traditional Chinese culture, such as Chinese operas, and guide localities and schools to develop courses related to operas that have ethnic and regional characteristics, to enhance students' sense of identification with traditional culture.
"We should create more opportunities for children to get to know Kunqu Opera. I have held lectures on Kunqu οpera, and I have taught students basic skills at many primary and middle schools. Every time, I can see the light and surprise in their eyes," Gu says.
"It is beneficial to immerse children in traditional Chinese culture from an early age. I believe, through a subtle and gradual approach, the seeds of Kunqu Opera can be sown in their hearts, sprouting quietly and growing gradually," Gu adds.
She expects more people will appreciate the charm of Kunqu Opera, and the classical beauty of Kunqu Opera can be carried forward into contemporary life, continuously nourishing people's hearts and fostering Chinese people's cultural confidence.
Photos from Interviewee
(Women of China English Monthly July 2025)
Editor: Wang Shasha
