7. Peking Opera – Three Borrowings of the Banana-Leaf Fan

1. Origin of the Work

Where does this piece come from?

Three Borrowings of the Banana-Leaf Fan is a traditional Peking Opera adapted from chapters 59 to 61 of the great Chinese classical novel Journey to the West (Xiyou Ji) by Wu Cheng’en.

In 1980, the Peking Opera Troupe of Jilin Province presented a revised stage version based on traditional performance practices. In 1982, the work was adapted into a film by the Changchun Film Studio and, in 1983, received the National Award for Outstanding Operatic Film. It has since enjoyed wide acclaim both in China and internationally.

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2. Story and Plot

Three attempts, a duel of wit and strength

On their journey westward, the monk Tang and his disciples arrive at the Flaming Mountain, where raging fire makes passage impossible. According to a local elder, the only way to extinguish the flames is to borrow the magical banana-leaf fan from the Princess Iron Fan (Tie Shan Gongzhu).

To continue the journey, Sun Wukong goes to the Cave of the Fan to request the artifact. However, the princess, harboring resentment toward Sun Wukong because of his past conflict with her son, firmly refuses and confronts him directly.

After a series of trials involving cunning, transformations, and combat, Sun Wukong finally succeeds in obtaining the fan, extinguishing the flames, and freeing the local inhabitants from danger.

In the novel, this episode is known as the “three borrowings”—not a simple repetition, but a dramatic progression:
from verbal confrontation, to physical combat, and finally to a contest of supernatural power and intelligence.

On stage, the opera focuses on the confrontation between two powerful figures:

• Sun Wukong, quick, unpredictable, and ingenious;

• Princess Iron Fan, noble, formidable, and commanding.

It is within this tension—between lending and refusing, between cunning and force—that the opera reveals its full dramatic power.

 

3. Characters and Role Types

How do they confront each other on stage?

Princess Iron Fan (Wudan – martial female role)
One of the most striking female characters in Peking Opera.
The wudan role demands precise, fast, and powerful movement. The princess combines martial vigor with noble authority, projecting a stage presence that is both elegant and intimidating.

Sun Wukong (Wusheng – martial male role / Monkey King role)
His performance is based on the principle of the “unity of body and spirit.”
The gestures must suggest the monkey without slipping into imitation, while fully expressing the heroic stature of the Monkey King. Liveliness, agility, and grandeur merge in every movement.

The contrast between these two role types—one firm and majestic, the other mobile and cunning—maintains dramatic tension from beginning to end.

 

4. Costumes and Props

The union of splendor and power

The visual impact of Three Borrowings of the Banana-Leaf Fan lies in its strong contrasts.

Princess Iron Fan (wudan)
Her martial costume is rich and imposing. The combined use of twin swords, the fan, and long silk ribbons creates a wide range of expressive movement.

• The swords convey decisiveness and bravery.
   

• The fan symbolizes both status and power.
   

• The flowing ribbons extend bodily energy, transforming softness into force.
   

Sun Wukong (wusheng / monkey role)
His costume is simpler and instantly recognizable, highlighting clarity of movement and agility.
The magical staff is his central prop, accompanying leaps, spins, and combat, fully expressing the Monkey King’s liveliness and indomitable spirit.

 

5. Why Is This Piece So Fascinating?

The appeal of Three Borrowings of the Banana-Leaf Fan lies not only in the outcome of the struggle, but in the process of confrontation itself.

When watching, consider:

• Do the princess’s ribbons serve to repel or to defend?
   

• Are Sun Wukong’s movements feints or counterattacks?
   

• After each exchange, does the tension intensify—or dissolve?
   

By paying attention to these details, one discovers that this work goes far beyond a simple mythological tale: it is a subtle interplay of intelligence, power, and theatrical aesthetics.

 

6. Performers

Emma Zhao — Princess Iron Fan
She has studied Peking Opera since the age of 14 under the guidance of Jiang Shijia, with The Fairy Scattering Flowers as her introductory piece.
She has participated in Lunar New Year performances organized by the Peking Opera of Québec and continues this year to deepen her study of the role of Princess Iron Fan in Three Borrowings of the Banana-Leaf Fan.

Victor Zhao — Sun Wukong
He began his training in 2022 under Jing Lianlian, with Sun Wukong as his introductory role.
In 2023, he studied the role of Liu Lihua in San Cha Kou with Jiang Shijia.
This year, he reprises the role of Sun Wukong in Three Borrowings of the Banana-Leaf Fan and has already taken part in numerous performances.