Keeping the nandan flame alive

At the heart of Sword of the Cosmos is Zhao Yanrong, portrayed by Hu — a noblewoman trapped within the oppressive norms of her time. The plot centers on her internal conflict, as she faces an arranged marriage to a ruthless emperor following her husband's death. In a desperate bid to avoid her fate, Zhao feigns madness, using this ruse to resist both the marriage and the patriarchal forces trying to control her.

As the audience settles into the hushed darkness, the sounds of the live band tuning up fill the air. The moment has arrived for Hu to step onto the stage, embodying a character that requires not just skill, but the reverence of an entire tradition.

Mei Baojiu (1934-2016), the ninth child of Mei Lanfang, was also known for his mastery of nandan roles. Hu, who began studying with Mei Baojiu in 2001, carries forward the nandan tradition with his own performances at the Jingju Theatre Company of Beijing.

Nandan, a practice forged in an era when women were forbidden to take the stage, has long been a hallmark of Peking Opera. The golden age of nandan performance was in the first half of the 20th century, when legendary artists like Mei Lanfang, Shang Xiaoyun (1900-76), Cheng Yanqiu (1904-58), and Xun Huisheng (1900-68) developed distinct performing styles, which continue to be passed down through their students.