The TV drama 《主角》 is bringing the ancient art of Qinqiang opera to modern audiences by chronicling a rural girl’s journey to becoming a prima donna in the 1980s. Starring Liu Haocun, the series coincides with a broader push to integrate Qinqiang into Xi’an’s primary education system.
The Rise of a Qinqiang Queen in 《主角》
The television series 《主角》 centers on the transformation of a young girl from the countryside during the 1980s, tracing her ascent to the status of a Qinqiang queen. As Sina reported, the production features Liu Haocun in the role of Yi Qin’e, utilizing a cast of seasoned performers to evoke a strong sense of the era. The production focuses on the socioeconomic pressures of the 1980s rural Shaanxi landscape, illustrating the friction between traditional familial expectations and the pursuit of artistic mastery.
The narrative serves as more than a period piece; it acts as a cultural bridge. By framing the rigorous discipline of traditional opera through the lens of a personal success story, the show translates the specific tastes of older generations for a contemporary audience. To ensure authenticity, the production incorporates actual Qinqiang vocal techniques, which are characterized by their powerful, high-pitched delivery and raw emotional intensity.
Decoding the ‘Thirteen Head Nets’ of Qinqiang
Qinqiang stands as one of China’s oldest operatic forms, with roots stretching back to the Western Zhou period and reaching maturity during the Qin dynasty. Its influence expanded significantly during the Qianlong era of the Qing dynasty when the renowned performer Wei Changsheng captivated the capital in Beijing.
A defining feature of the art form is its sophisticated role system, known as the thirteen head nets. According to details from Sina, this system is more extensive than that of Peking Opera, comprising four Sheng, six Dan, two Jing, and one Chou. These “head nets” refer to the specific combinations of headgear and costumes that signal a character’s social rank, age, and temperament to the audience immediately upon their entrance.
- Sheng: Literally meaning novice, yet requiring the most seasoned and mature acting skills.
- Dan: Associated with the rising sun (yang), while the role portrays women (yin).
- Jing: Meaning clean, despite the character’s face being covered in heavy, colorful paint.
- Mo: Meaning the first position, though these characters often play supporting roles or introduce the play.
- Chou: Linked to the ox (perceived as clumsy), while the actor must be quick-witted and agile.
Xi’an’s Youth Heritage Push in Primary Schools
While television brings Qinqiang to the masses, grassroots efforts in Xi’an are embedding the art form into the next generation. West First Primary School has established a deep partnership with the Yi Su She opera troupe to ensure the tradition survives beyond the stage. Yi Su She, founded in 1902, is a national-level theater and a recognized protector of National Intangible Cultural Heritage, providing the school with professional mentors and authentic stage costumes.
As reported by edu.hsw.cn, the school’s Qinqiang club has attracted nearly 50 students. These children work with young actors from Yi Su She, often spending an entire semester polishing a single movement or vocal phrase. The training emphasizes the “Three-Point” method of vocal projection and the specific kinetic language of the Shaanxi region.
The results of this pedagogical rigor are evident in the students’ accolades. The club’s performances of The Tiger’s Mouth, Alliance, Mulan, and Fifteen Strings of Cash earned the Shaanxi Provincial Children’s Opera Little Plum Blossom Gold Flower Award. The Little Plum Blossom award is the highest national honor for youth opera performers in China, recognizing technical proficiency in singing, acting, and dance. Individual student Gao Yuxuan also secured a national Little Plum Blossom Gold Flower Award.
The school has integrated the art form into a broader “Qin Sound Qin Rhyme” curriculum. This includes drawing opera masks in art class and practicing a custom “Qin Rhyme Opera Exercise” during school breaks to weave traditional movements into daily physical activity. This exercise incorporates traditional “Cloud Hands” and specialized step-work, turning the schoolyard into a space for kinetic cultural memory.
Immersive Media and the Modernization of Tradition
The intersection of traditional theater and modern streaming is the latest frontier for cultural preservation. Qi Dian News recently hosted an immersive live stream that paired the themes of the drama 《主角》 with a performance of the play Yang’s Female Generals. The live stream used high-definition multi-angle cinematography to highlight the intricate embroidery of the costumes and the precise application of the “Jing” role’s facial paint.
The choice of Yang’s Female Generals—a story centered on loyalty and filial piety—directly mirrors the drama’s exploration of female resilience and ancestral duty. This multi-platform approach—combining scripted television, educational mandates in schools, and immersive digital broadcasts—suggests a strategic shift in how “intangible heritage” is managed. Rather than treating Qinqiang as a museum piece, these initiatives treat it as a living language.
The stakes are high. By linking the discipline of the 13-role system to the aspirational narrative of a rural girl’s rise in the 1980s, the current cultural push attempts to transform a niche regional art into a symbol of broader cultural confidence for the youth of Shaanxi.
