Peking Opera, a revered Chinese art form blending centuries-old traditions, faces challenges in modern times, struggling to engage the younger generation. Despite government support and international interest, efforts to modernise it and attract younger viewers have shown mixed results. However, Zhang Yudi’s film The Midsummer’s Voice offers a fresh perspective, focusing on the struggles of young opera students grappling with adolescence and vocal changes. Through beautiful storytelling and exceptional performances, the film depicts identity, ambition, and traditional themes in a rapidly changing world.
Zhang Yudi graduated in TV and Broadcasting from Fudan University, and before studying Film Production at the University of Southern California, she worked as a journalist. Her short film, which inspired her to make the aforementioned debut feature film of the same name, won a Special Jury Award at the Palm Springs International Film Festival in 2019.
During the 26th Far East Film Festival, we sat down with Zhang Yudi and discussed the creative process behind the film and the importance of Peking Opera in modern times.
View of the Arts: What inspired you to create a film that explores the intersection of traditional Chinese opera with contemporary youth culture?
Zhang Yudi: It all started with my co-writer, Huo Xueyin. She frequently attends Peking Opera shows and is acquainted with many of the opera’s actors. It began with a conversation between us; she mentioned that many young opera actors experience early fame, but later face a dilemma when their voices change during puberty, often leading male actors to contemplate quitting or accepting minor roles. After our discussion, I realised that this subject would make for a compelling film. Exploring the journey of growing up and navigating puberty, especially for young opera singers, interested me as a filmmaker. I’ve always been drawn to coming-of-age stories, but until this point, I struggled to find the right narrative. However, upon learning about the challenges faced by Peking Opera performers, I recognised its universal appeal.
View of the Arts: What challenges did you face in depicting the struggles of young opera students, such as Sun Xiaolei, in balancing familial expectations with personal aspirations?
Zhang Yudi: [To answer your question], I would have to go back to our 2018 short film of the same title. We spent our summer at Peking Opera School, immersing ourselves in the lives of actors and observing their experiences. Many characters in the film are drawn from real life, with Xiaolei’s character being based on several boys I knew at the time. I selected the most compelling and significant moments from their lives and incorporated them into Xiaolei’s character.
View of the Arts: The film features real young opera singers. How did you ensure authenticity in their performances while also portraying the emotional complexities of adolescence?
Zhang Yudi: Actually, not everyone in the film were professional opera singers and actors. The three protagonists are professional actors who underwent training in the Peking Opera movement and acting months before filming commenced. We were fortunate to have a skilled Peking Opera supervisor who assisted us in finding a teacher to train the actors for their roles. They were present on set every day to ensure the accuracy of opera scenes and to guide the actors on their movement, speech, and singing. Additionally, the actors spent months training together, so by the time we began filming, they were already familiar with each other, making the filming process somewhat easier.
View of the Arts: Could you elaborate on the symbolism of the love triangle dynamic between Sun Xiaolei, Shi Jiahui, and Xie Tianchi, and how it reflects broader themes in the film?
Zhang Yudi: I think the way we wanted to portray their story reflects how we view relationship dynamics as teenagers. It’s often ambiguous; you may believe you like one person, but then discover you have stronger feelings for another. This ambiguity is central to how we depicted their relationships.
View of the Arts: How do you see the role of tradition evolving in contemporary society, especially among younger generations, as depicted in the film?
Zhang Yudi: I think that in China, the generation younger than mine is becoming increasingly enthusiastic about traditional culture. This realisation dawned on us during our research for the film. Previously, we had doubted whether anyone would be interested in watching a film about Peking Opera. However, we observed a growing interest among young people in this traditional art form. There is a rise in streaming channels dedicated to reintroducing Peking Opera, and young audiences are actively engaging with it. They even establish fan clubs for opera actors, which is heartwarming to see. There is also a considerable number of organised shows, with the majority of ticket buyers being young people. On one hand, it’s true that this art form is gradually fading, with fewer people interested in learning it. However, on the other hand, younger generations are embracing it, offering hope for its continued existence. Let’s aspire for this art to endure for as long as possible.
View of the Arts: What do you hope audiences, especially younger viewers, will take away from The Midsummer’s Voice regarding the preservation of cultural heritage and the challenges of modernity?
Zhang Yudi: First and foremost, I would like audiences to appreciate the beauty of Peking Opera. In addition, in today’s society, the younger generation faces immense pressure from family, school, and university, much like Xiaolei experiences in the film. Xiaolei’s father tries to instil the belief that failure is permanent, but we wanted to convey the opposite message. There is no singular path to adulthood; setbacks in one contest or exam do not dictate the course of one’s entire life. There are always choices and opportunities for redemption. We hope that this film can inspire hope in those confronting life’s challenges.
Written and interviewed by Maggie Gogler
Featured image © View of the Arts
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