2. Peking Opera: The Fortress of Muke

1. Origins of the Work

The story of The Fortress of Muke originates from the legendary cycle of the Generals of the Yang Family, one of the most enduring narratives in traditional Chinese theatre. Performed across numerous regional opera forms including Peking Opera, Shaanxi Opera, Hebei Opera, and Henan Opera,it has become a true “national repertoire classic.”

Within the history of Peking Opera, The Fortress of Muke holds a special place due to its close association with the career of the legendary master Mei Lanfang. In 1913, the young Mei Lanfang performed this role in Shanghai for the first time, achieving several historic “firsts”: it was his first appearance as a Daomadan (a female warrior role in armor) and his first time headlining a major commercial production.

At a time when male roles dominated the stage, it was a bold artistic move for an actor renowned for portraying refined and delicate female characters (Qingyi) to take on a powerful martial heroine. Mei Lanfang broke away from traditional conventions, blending lyrical elegance with martial prowess and introducing a more naturalistic stage language.

Through this role, he created a vivid image of Mu Guiying, seamlessly combining youthful vitality with heroic spirit. The success of this performance marked a turning point in his artistic career and opened new horizons for female roles in Peking Opera. Decades later, his final masterpiece, Mu Guiying Takes Command, would grow directly out of this early exploration.

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2. Narrative Background

During the Northern Song dynasty, war rages against the Liao forces, who deploy a formidable military formation known as the “Heavenly Barrier.” Song general Yang Yanzhao is wounded and poisoned while scouting the enemy. The only cure is a rare medicinal wood known as “Dragon-Subduing Timber,” kept at Fort Muke.

His lieutenants Meng Liang and Jiao Zan travel there to obtain it, but they are defeated by Mu Guiying, daughter of the fort’s chieftain. On their return journey, they encounter Yang Zongbao, Yang Yanzhao’s young son, and provoke him into battle. Hot-blooded and eager to prove himself, Yang Zongbao challenges Mu Guiying, only to be captured by her superior martial skill.

At the fort, Mu Guiying, struck by the young general’s bearing and courage, openly confesses her love and proposes marriage.

When Yang Yanzhao learns of his son’s capture, he sets out in disguise to investigate. He first confronts Mu Guiying’s father, who flees. Mu Guiying then arrives and captures the “unknown elderly general” as well. When Meng Liang suddenly reveals his true identity, she realizes mortified that she has captured her future father-in-law. In embarrassment, she drops him from his horse and rides away.

Thus, war and love intertwine in an unexpected and dramatic fashion.

The scene presented here depicts Mu Guiying leading her troops on a hunting expedition. It is her first appearance in the opera, showcasing her youth, courage, and extraordinary martial talent.

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3. Costumes and Props

From the moment she enters the stage, Mu Guiying commands attention.

Her costume centers on a modified female suit of armor, complemented by four back banners, a seven-star helmet, and long pheasant plumes. Together, they strike a perfect balance between martial strength and youthful grace—an ideal embodiment of the daomadan aesthetic.

Back Banners: The Breath of Presence

The four small banners are far more than decoration. Acting like visual “weathervanes” and amplifiers of presence, they sway with her movements, evoking the rush of wind and the force of an army in motion.

Helmet and Plumes: Expressive Details

The seven tassels at the front of the helmet tremble subtly with each movement of her head, adding a lively, youthful quality to her martial appearance.
The long pheasant plumes (Lingzi), controlled through precise neck movements, can sway, quiver, coil, or stand upright—expressing joy, anger, contemplation, or defiance. They function almost like a second face, speaking on behalf of the character.

Together, these elements give Mu Guiying a look that is heroic, dynamic, and vibrant, one of the most vivid and life-filled images of a female warrior in Peking Opera.

Bow and Whip: Symbols of Martial Mastery

The bow immediately signals her exceptional skill as a warrior. The whip, meanwhile, is one of the most evocative stage props: with a single flick, it brings an invisible horse to life, creating speed, motion, and power on an otherwise empty stage.

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4. Role Type

Mu Guiying is the quintessential Daomadan, a role demanding mastery of singing, speech, stylized movement, and martial technique. She embodies a commanding military leader while remaining a young woman full of dreams and passion.

In The Fortress of Muke, we do not yet see the calm, seasoned commander of Mu Guiying Takes Command, but rather a brilliant, fiery young heroine, fearless in battle and bold enough to pursue love on her own terms. Her charm lies precisely in this raw, spontaneous vitality.

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5. Highlights of the Performance

The Fortress of Muke unfolds like a living painting of an autumn hunt, led by a heroine surrounded by her companions.

Mu Guiying is not a solitary warrior; she commands a vibrant “sister brigade.” These female soldiers are not mere background figures, but her comrades-in-arms and living frame. At her command, they fan out into formation, instantly establishing the fort’s strength and identity. The stage becomes a dynamic tableau lively, energetic, and full of momentum.

How to Watch the Piece

There is no need to worry about technical terminology. Simply follow Mu Guiying and feel her rhythm:

• Is her whip fast or slow?

• Is she searching for prey, or already taking aim?

• Do her plumes sway lightly, or point with determination?

If you can sense these shifts, congratulations—you are fully immersed in the world of this young general.

 

6. Performer

Xinyue Liu— Mu Guiying
Peking Opera Actress of Quebec Peking Opera Art Centre
She performs the role of Mu Guiying in this production.

Liu Xinyue began studying Peking Opera at the age of five under Professor Guo Zhongli of the Shanghai Peking Opera Troupe, debuting with Picking Up the Jade Bracelet. At age six, she won the Silver Medal at the 2nd National “Peace Cup” Youth Amateur Competition.

Over more than a decade of training, she has earned numerous awards. Since 2025, she has continued her advanced studies under Master Jiang Shijia and is emerging as one of the most promising artists of the new generation.