Captivating and profoundly moving, a gripping tale of love and courage is intricately woven against an epic backdrop of imperial China, where, in the face of insurmountable odds, a young woman does not yield to her fate. What unfolds is an exquisite display of a woman's resolve as she stands alone against the ultimate symbol of unbridled hubris and power.
This spectacular stage adaptation transforms Meng Jiang Nü's epic tale into a soaring musical odyssey, where raw emotions are laid bare in a dazzling display of vocal showmanship as the characters come to life in a beautiful contemporary setting detailed with traditional design influences.
Come and bear witness to Meng Jiang Nü’s immortal tale and revel in the life of the brave everywoman who stood between an Emperor and his imposing wall, all while celebrating the capacity for love and the strength of the human spirit.
NO WALL TOO TALL
NO JOURNEY TOO LONG
WITNESS THE LOVE & COURAGE OF MENG JIANG NÜ
The story of Meng Jiang Nü
The legend of Meng Jiang Nü (孟姜女) is one of China's Four Great Folktales and has seen many variations, with later versions being set in the Qin dynasty, though it was not until the research of noted historian Gu Jie Gang (顾颉刚) in the 1920s that cemented its status as a premier Chinese folktale.
The legend's history can be traced back to an incident narrated in the Zuo Zhuan (左傳), which had been embellished with numerous details over the following centuries, until the tale of the virtuous wife of Qi Liang (杞梁) achieved its canonical version in Liu Xiang's (劉向) Biographies of Exemplary Women (Lienü Zhuan, 烈女傳 ).
Since then, the legend of Meng Jiang Nü has evolved from sparse vernacular literature into an essential part of the rich fabric of cultural traditions surrounding the Great Wall of China, and in some cases, a part of the myth of the First Emperor of China, Emperor Qin.
It is also likely due to the widespread popularity of the legend of Meng Jiang Nü that until the early 20th century, the Great Wall was viewed by some as a symbol of despotism and cruelty, especially to women.
By that time, the evergreen legend had already found new life in emerging media formats and had steadily made its way into regional dramas and songs, with the earliest film of the story being a 1926 film starring the era's most famous actress, Hu Die (胡蝶).
Aaron Avshalomov, a Russian émigré composer who came from the United States to Shanghai, also used the legend as the basis for his opera, The Great Wall, which was produced in November 1945, making it the first Western-style opera in Chinese.
Post-World War 2, the legend of Meng Jiang Nü has continued to grow in influence, sporadically lending inspiration to a number of motion pictures produced for Asian audiences, including a 1970 Taiwanese feature film.
—— (1994). "Historical Scepticism in the New Culture Era: Gu Jiegang and the 'Debate on Ancient History'" (PDF). 近代中國史研究通訊 Jìndài Zhōngguó Shǐ Yánjiū Tōngxùn. 23: 355–388.
Doar, Bruce G. (2006). "The Rehabilitation–and Appropriation–of Great Wall Mythology". China Heritage Quarterly. 7. Retrieved September 30, 2014.
Idema, Wilt L. (2008). Meng Jiangnü Brings Down the Great Wall: Ten Versions of a Chinese Legend. Seattle: University of Washington Press.
—— (2012). "Old Tales for New Times: Some Comments on the Cultural Translation of China's Four Great Folktales in the Twentieth Century 二十世紀中國四大民 間故事的文化翻譯" (PDF). Taiwan Journal of East Asian Studies. 9 (1): 25–46.