12. Peking Opera: The Hu Manor (The Hu Manor)

1. Origin of the Work

Why is The Hu Manor an iconic piece for the wudan role?

The Hu Manor is a classic of the female martial repertoire in Peking Opera. It originated as a Kunqu excerpt widely performed by northern and southern troupes, inspired by Chapter 48 of the classical novel Water Margin (Shuihu Zhuan), though with notable differences from the literary source. Versions of the story also exist in other regional opera forms.

In modern stage practice, the piece long circulated between Kunqu and the mixed Jing–Kun repertoire. It is distinguished by a balance between martial virtuosity and a structured vocal framework—often described as “martial theatre with constructed singing.” The performer must master movement, weapons, and battlefield choreography while maintaining expressive singing and dramatic presence.

For these reasons, the Hu Manor is considered a rite of passage for the Wudan role, testing both martial technique and the ability to shape a compelling character.

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2. Story and Context

Into the heart of battle: “Yizhangqing” takes the field

The action unfolds during the conflict between the heroes of Liangshan, led by Song Jiang, and the Hu Manor, allied with opposing forces. Facing the threat of invasion, the warrior Hu Sanniang—nicknamed Yizhangqing (“One-Toise-in-Green”) and the clan’s most formidable fighter—wields a long halberd with exceptional skill.

She takes the initiative to ride into battle, clashes with the Liangshan leaders, captures Wang Ying, and repels several opponents. Song Jiang then alters his strategy, and Hu Sanniang is ultimately captured by Lin Chong.

The opera focuses on this moment of valor: a compact, high-energy scene in which battlefield tension and the heroine’s brilliance unfold in just a few moments.

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3. Role Types

Dramatic tension through casting

Hu Sanniang — Wudan (female martial role)
The central figure and a quintessential Wudan: action takes precedence—combat, physical performance, and dance—while retaining control of singing and text.
Key techniques include halberd work, powerful body carriage, and stylized horseback riding (the “invisible horse”), expressing a heroine who is resolute, swift, and commanding.

Wang Ying — Chou (comic role)
Nicknamed the “Tiger with Tiny Feet,” Wang Ying is typically portrayed as a chou. His lively speech, exaggerated movements, and quick rhythm create contrast. As the captured opponent, he carries the conflict and, through differences in stature and energy, heightens Hu Sanniang’s authority.

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4. Costumes and Props

When visual design already tells the power dynamic

In The Hu Manor, costumes, weapons, and movement form a clear visual language: on one side, a disciplined, incisive heroine; on the other, a more disordered adversary. The contrast immediately amplifies the warrior’s presence.

Hu Sanniang: armor and the identity of a woman-general
Her “modernized” armor (kào reimagined) retains traditional structure while being lighter and more fitted, with a defined waist and streamlined silhouette—ideal for demanding martial movement. Clean lines and disciplined bearing signal an elite combatant.

The central weapon: the long halberd
The halberd anchors the scene visually. Its pathways—opening/closing, lifting, thrusting, cleaving—do more than depict combat; they externalize character. A sharp weapon for a decisive heroine; a steady stance for a leader who controls the melee.

Stylized horseback riding: “seeing the horse without a horse”
Through walking rhythm, torso bounce, and spatial use, the performer creates the illusion of a mounted charge on an empty stage—an exemplary expression of Peking Opera’s suggestive aesthetics.

Wang Ying: the outlaw silhouette
Often dressed in short, practical combat attire suited to falls and rapid movement, with darker or mixed colors and less ordered lines. Against the Wudan armor, the hierarchy is instantly clear. His imbalance, tumbles, and reactions contrast with Hu Sanniang’s stability, making victory legible through the body.

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5. Performance Highlights

How to watch this “major martial scene”

With few purely lyrical passages, the power of The Hu Manor lies in physical precision and the shaping of kinetic momentum. Watch for:

• Clarity of halberd pathways: clean lines, readable beginnings and endings—speed with method.

• Rhythm of stylized riding: do the steps and pivots convincingly suggest horse and charge?

• Fixed poses (liangxiang): after rapid action, does the stillness command the stage?
  Calm within chaos: amid complexity, does the character remain clear and controlled?

Together, these elements reveal the essence of Wudan: strength, clarity, mastery, and the beauty of movement.

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6. Performers

Shijia Jiang — Hu Sanniang
A graduate of the National Academy of Chinese Theatre Arts (opera directing), she brings over twenty years of Peking Opera practice and teaching. Dedicated to transmission, pedagogy, and creation, she has toured and participated in artistic exchanges (United States, Korea, etc.). Based in Canada, she actively promotes Peking Opera and cross-cultural dialogue.

Mingyan Luo — “Young Hu Sanniang”
Age 9, she has studied Peking Opera since age 6 with Jiang Shijia. After an introductory piece (Maishui), she moved into the martial repertoire with The Hu Manor. She has already appeared in two performances, demonstrating strong rhythm, focus, and understanding of operatic conventions.

Qi Yue — Wang Ying
With about ten years of Peking Opera training and a solid martial arts background, he specializes in martial roles. He has performed Sun Wukong in The Monkey King Disturbs the Dragon Palace and The Monkey King Overturns Heaven, and portrayed Wang Ying in The Hu Manor at a Chinese New Year gala in Seattle. He has also played other martial roles (including matong), known for clean technique, discipline, and assured stage presence.