5. Peking Opera – Fishing the Golden Tortoise

1. Origin of the Work

Where does this piece come from?

Fishing the Golden Tortoise is adapted from the legendary drama The Case of the Two Nails (Shuangding an), a Kunqu play written during the Qing dynasty by Tang Ying.
This family-centered story, focused on filial piety, can be traced back to In Search of the Supernatural (Soushen Ji), a collection of myths compiled by Gan Bao during the Jin dynasty.

Passed down and reshaped through the Tang and Song dynasties, the story gradually took a fixed form in the Yuan dynasty and became a recurring subject in traditional Chinese theatre. Influenced by popular performance styles, Tang Ying infused the work with themes of moral causality and fate, combining classical narrative with more dynamic musical forms.

Unlike heroic or martial operas, Fishing the Golden Tortoise tells an everyday story—simple on the surface, yet deeply human. On the Peking Opera stage, it is especially admired for the interplay between the elderly mother (laodan) and the comic son (chou), where singing and spoken dialogue transform a domestic conflict into shared emotion.

 

2. Story and Plot

A golden tortoise, a mother–son storm

The poor and elderly widow Kang lives by the Mengjin River with her younger son, Zhang Yi, who supports them by fishing each day.

One day, Zhang Yi unexpectedly catches a golden tortoise. The discovery seems like a sign of sudden good fortune. Yet the joy also awakens long-suppressed resentment: the elder son, who became a scholar and official, abandoned his mother and no longer supports her. Zhang Yi accuses his mother of favoritism, and a quarrel erupts.

With patience and compassion, Madame Kang calms her son’s anger, guiding him through reason and maternal love. The misunderstanding is resolved, and harmony is restored.

From a seemingly trivial incident, the opera reveals the complexity of family bonds, blending humor, tension, and tenderness. Fishing the Golden Tortoise is a work in which everyday life becomes a theatre of truth.

 

3. Characters and Role Types

How is emotion conveyed?

Madame Kang (Laodan – elderly woman role)
An emblematic image of the benevolent mother, her singing is steady, restrained, and deeply expressive.
The strength of the role lies not in vocal virtuosity, but in conveying patience, suffering, and generosity through song.

Zhang Yi (Chou – comic role)
Although a comic role, Zhang Yi is far from a mere clown.
His spoken lines are close to everyday speech, revealing anger, frustration, attachment, and remorse.

The mother’s calm singing and the son’s impulsive speech give a simple domestic dispute lasting emotional depth—the very essence of this opera.

 

4. Costumes and Props

Simplicity as dramatic strength

The staging of Fishing the Golden Tortoise favors restraint.
Costumes are inspired by common people’s clothing: muted colors, simple lines, and no excessive ornamentation. This visual simplicity draws attention back to the characters and their emotions.

Madame Kang

• Simple head covering and blue headband: mark old age and poverty.

• Loose Laodan robe: allows measured movement and conveys maternal gravity.

• Cane: an essential prop indicating age and shaping a slow, dignified rhythm.
   

Zhang Yi

• Chou facial makeup: simple yet expressive, highlighting emotional shifts.

• Blue garment with wide sleeves: a worker’s outfit that facilitates stage movement.
   

The Golden Tortoise
The central object of the plot, symbolizing both hope and the trigger of family conflict.

 

5. Why Does This Piece Move Audiences?

Fishing the Golden Tortoise is not driven by spectacular twists, but by emotional progression.
What matters is not what happens, but how the characters think, speak, and change.

When watching, ask yourself:

• Does the mother sing to persuade—or to endure?

• Does the son speak to accuse—or to be heard?

• After the quarrel, does the atmosphere soften—or harden?

If you sense these nuances, you are at the heart of this everyday drama—simple, intimate, and universal.

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6. Performers

Baofeng Dou — Madame Kang
Peking Opera performer based in Québec (laosheng and laodan roles), with extensive stage experience.
Specializing in the Yang (Baosen), Xi (Xiaobo), and Li (Duokui) schools, he is known for his emotionally rich singing and strong stage presence.

Qiutang Zhao — Zhang Yi
Performer of comic roles (chou), painted-face roles (jing—powerful or heroic male characters in Chinese opera), and an artist of quyi (traditional Chinese oral performing arts).
A disciple of renowned xiangsheng master Ma Guirong and danxian specialist Gao Jialan, he brings broad and versatile stage experience to his performances.