Mu Guying Takes Command By Mei Lanfang

Mu Guying Takes Command is a Beijing Opera drama piece written during the Song Dynasty and later adapted by Mei Lanfang in 1959 (Yang 64). For companies or groups intending to perform the play in a traditional style, they would require an informed knowledge of the costumes and symbolism that is authentic to the Song era, culture and most importantly theatrical tradition.

Basic knowledge of types of costumes and the various roles would be paramount. In performance, each role projects an ideal through distinct techniques of movements and vocal quality, as well as specific standards of hair, make up and dress (Bonds 3). In Beijing Opera, there are four dominant roles, categorized in accordance with gender and disposition; namely the sheng (male
This clearly emphasizes her role and her importance to the audience. This armoured garment is called nükao. The most common form of a nükao can be easily identified by its shoulder paddings, which creates a more formidable figure, which can be further enhanced with flower and phoenix embroidery and additional streamers, and a filigree helmet with long feather attached (Bonds 11) (See figure 4, 4.1 and 4.2).

In the case of Mu Guying, there will be flags attached to her back to represent her status as a high-ranking military leader. There are flags are tied together with ropes covered with decorative silk rosettes. The nükao that she wears can be either pink or red, which both represent the character as a commander-in-chief. The armour is decorated with designs of multi coloured phoenixes and peonies on the padded belt section and beautiful flowers are used for borders and streamers. The central chest and apron sections usually have a fish scale pattern (See figure 5). However, it is the colour of the nükao carries more significance than the surface design in determining what a character represents and the role they play in performance (Bonds 132) (Yang 45) (Bian
It is not possible to have a horse on stage however the Beijing opera theatrical solution is not to present the horse itself but instead to evoke it through what was most associated with horseback riding, the horsewhip. Over time this prop became a stylized flexible cane with several tassels with a finger loop at the end. The tip indicated the horse’s head (Lovrick, Ngai 89). By manipulating this whip, the actor demonstrated mounting, dismounting and riding a horse (See figure 7).

Another essential prop for the daomadan is the sword that is carried by her during battle. The sword is the most common stage weapon in Beijing opera. It is also the most versatile, used in both dance and furious display of prowess (Lovrick, Ngai 110). A woman warrior makes the use of a long sword, which is also knows as the double sword. They are usually carried together, giving the enemy the illusion of it being just one sword however it is later revealed that they can be separated so that she wields one in each hand, catching the enemy off guard. (See figure 8)

3.1