By outdoor-nature-child.com In a recent interview with China News Service, renowned performer Zhu Luhao, often referred to as the “Monkey King of Taiwan,” opened up about his journey in traditional Chinese opera and the insights gleaned along the way. His new autobiography, “Opera Troupe, Wukong, and Seventy-Three Transformations,” has just been published in Taipei. Passionate about his craft, Zhu reflected, “My seventy-three transformations are about returning to my true self.”
Zhu, who was originally named Zhu Jiafu, began his traditional theater journey at just nine years old when he joined the Luguang Theatre School in Taipei, focusing on martial roles. His small stature led neighbors to jokingly refer to him as someone who could “only perform monkey tricks.”
The path to mastery wasn’t without challenges. At the age of 15, while performing, Zhu accidentally knocked over the curtain and lighting rig during a stunt, a mishap witnessed by the audience. The fallout was significant; his teacher disciplined him with a bamboo stick, a lesson that left Zhu humbled yet determined. He began waking up an hour earlier than his peers to practice.
By the time he graduated at 18, Zhu earned his first award for his role in “Lu Wenlong.” However, his portrayal of Sun Wukong in “An Tian Hui” at 28 faced criticism, with the director describing his performance as reminiscent of a baboon.
Eager to improve, Zhu spent an entire day at the zoo observing monkeys as they ate and drank, which he then mirrored in front of a mirror at home. This rigorous training led to deeper reflections on his performance.
When Taiwan lifted travel restrictions allowing visits to family in mainland China, Zhu seized the opportunity to travel to Shandong and Beijing, where he refined his skills in various Peking opera theaters. “Peking opera across the strait is like one family,” he noted, highlighting how Taiwanese opera actors have embraced the chance to learn, likening them to sponges soaking up knowledge from their mainland peers, who generously share their expertise.
Having portrayed Sun Wukong for 22 years since his first performance of “An Tian Hui” in 1982, Zhu has performed over 500 shows worldwide, solidifying his status as a household name in Taiwan and beyond. Throughout the years, he has also taken on various roles, including Lu Wenlong, Zhong Kui, and Lin Chong. “I gained fame by playing Sun Wukong, yet I yearn to break free from that role and explore different characters,” he confessed.
As Zhu reached significant artistic milestones, he expressed, “Beyond the applause from the audience and public acclaim, what I truly desire is to return to my innermost self, to that carefree child I once was.”
At 47, after a performance in Brazil, Zhu felt a wave of exhaustion and contemplated retirement. He laid down the golden staff for 18 years, during which he appeared in various TV dramas and films. Yet, he was haunted by the thought, “I feel like I haven’t passed on the true essence of Peking opera to my students – it’s a disservice to my ancestors.”
In 2019, Zhu starred in the stage play “Seventy-Three Transformations,” which narrates a family story. About two years later, he was invited to co-star in “Eastern Wonders – The Monkey King” with one of his students, marking his triumphant return as the “Great Sage.”
“Returning is about passing on the legacy,” Zhu emphasized. He meticulously monitored his diet and lost weight over the year, rigorously training to reclaim his identity as the Monkey King.
Over the decades, Zhu has witnessed the ups and downs of traditional opera in Taiwan, from sold-out performances to nearly deserted venues. “Traditional opera faces competition from stage plays and other performing arts. During our toughest times, we had more actors on stage than audience members,” he shared.
Zhu believes a significant challenge for both sides of the Taiwan Strait lies in attracting younger audiences. “Peking opera isn’t just a relic in a museum; it’s a living art that can blend various elements,” he explained.
In his quest to innovate, Zhu has noticed that excessive lighting effects can overshadow performances. He advocates that modern Peking opera should find a balance, incorporating traditional elements without becoming overly dependent on technology.
To engage younger audiences, Zhu actively takes his troupe into schools, breaking down the beauty of Peking opera into relatable sections for the next generation. Coming from a diverse theatrical family—his mother a Taiwanese opera singer and his sister a renowned Yu opera performer—he values a more inclusive approach to passing down the art form. He often mentors students, encouraging them to find their own unique voices rather than merely imitating him. By incorporating movements from animated characters into his performances, he aims to connect with younger viewers.
While focused on preserving traditional opera, Zhu also has a keen interest in fostering cross-strait exchanges. Reflecting on his heritage, he mentioned that his father, originally from Nanjing, passed away before the policies to allow greater interaction were established. “If given the opportunity, I would like to return to Nanjing to trace my roots and find closure for my father,” Zhu shared, illustrating the blend of his rich heritage with his artistic future.