September 20, 2024
BEIJING – In a dimly lit theater, shadows dance against the stark stage. A young actor, clad in black, stands alone, barely visible, as anticipation fills the room. The stage is shrouded in darkness, save for a spotlight highlighting the actor’s hands, skillfully manipulating puppet strings.
The puppets, of various sizes and styles, glide gracefully through the darkness. The actor’s movements are fluid and precise, bringing them to life with an almost magical display.
The darkness serves as a canvas, allowing the puppet stories to unfold vividly against the shadows, captivating the audience with their enchanting movements.
The young actor is 33-year-old Hong Jindiao. His one-man show Riding Alone features over 20 handmade puppets of four types — string, glove, stick and shadow puppets. Hong narrates the show, sings, and manipulates his puppets to the rhythms of Chinese instruments.
“Everything I have learned since I was a teenager is showcased in this production. Though it’s a one-man show, I am not alone onstage, as I am accompanied by the puppets,” says Hong, who staged Riding Alone in Beijing on Sept 6 as part of the 17th Beijing Fringe Festival, which runs until Oct 7.
Initiated by pioneering theater director Meng Jinghui, the festival features 15 theatrical productions by young talents, 17 script reading events, two forums and three screenings.
One of the puppets Hong displayed onstage is Guan Yu, the legendary general of the Eastern Han Dynasty (AD 25-220). Symbolizing traditional Chinese values like loyalty and righteousness, he serves as one of the leading roles in Hong’s show. The puppet is based on the long-bearded warrior often portrayed in TV shows, movies and traditional Chinese operas — green robe, reddish face and armed with the Green Dragon Crescent Blade, a double-edged blade on the end of a pole.
While telling a well-known excerpt from the literary classic Romance of the Three Kingdoms by 14th-century Chinese writer Luo Guanzhong, in which Guan rides alone on a long journey to fulfill his promise, Hong also presents his own journey. With over 20 years of puppetry experience, he explores self-discovery, learning and performing experiences, inner struggles, personal growth, and the bond between puppetry masters and their students.
It’s not the first time Hong has brought Riding Alone to Beijing. In 2023, the show was staged at the inaugural International Monodrama Festival at the Drum Tower West Theatre, a popular venue in downtown Beijing, and later toured nationwide with over 30 shows. From July 31 to Aug 4, the show was performed at the 2024 Edinburgh Festival Fringe. On Friday, it was presented at the IV International Puppet Theatre Festival “BalticPuppetwhirl” in Vyborg, Russia.
“His solid puppeteering techniques remind me of Chinese kung fu, which takes years to learn and practice. I am touched by the power he delivered in the show,” says director Ding Yiteng.
“The puppets on Hong’s hands are alive onstage. I was particularly touched when he ended the show by taking a bow not only to the audience but also to the puppets. He respects and loves the old art form,” says Li Ting, initiator of the annual Daliangshan International Theater Festival that takes place at the foot of Daliangshan Mountain, Sichuan province.
Hong Jindiao displays one of his puppets, which is based on Guan Yu (left), the legendary general from the Eastern Han Dynasty (AD 25-220). PHOTO: CHINA DAILY
Beginning his journey
Hong was born and raised in Dongshi town in Jinjiang, Quanzhou, a city in East China’s Fujian province, a major hub for string puppetry. According to the Quanzhou government website, the history of string puppetry dates back to the Han Dynasty (206 BC-AD 220) and came to Quanzhou during the Tang Dynasty (618-907).
In Fujian, puppet shows were traditionally performed at various life events such as weddings and funerals, becoming an integral part of local customs.
“Each puppet is equipped with 16 to 32 strings, with the most complex having over 40. The strings are divided into several groups according to human movements, and all action is controlled solely by the puppeteers’ hands,” the article says. “Combined with exquisite head carvings, embroidered costumes and craftsmanship, Quanzhou’s string puppetry boasts an extraordinarily intricate artistic system.”
Hong’s journey in puppetry began with nanyin, a musical art with slow, simple melodies performed on distinctive instruments like the dongxiao (bamboo flute) and the pipa (four-stringed Chinese lute).As a middle school student, he joined a nanyin class after school, and a year later, his teacher recommended that he study at the Quanzhou Art School, where he was drawn to the puppet class. The class needed male students, so he switched, beginning his journey in puppetry.
“My parents were open-minded about my choice, so I fully devoted myself to what I love,” says Hong, whose family runs a seafood business.
His days at the art school were dull and monotonous, with repetitive practice sessions on finger techniques, vocal exercises and memorizing songs. As a teenager, these were not particularly pleasant memories. One summer, he was invited to the home of puppetry master Lin Wenrong. Lin taught generously, providing food and accommodation, and Hong stayed until the end of the training program. Lin, skilled in both puppetry performance and puppet-making, taught Hong how to make and assemble puppets while Hong learned head carving on his own.
One year later, Lin fell ill and had difficulty walking. Hong carried his teacher down the stairs daily to see the doctor and back up to their home. While Lin received treatment, Hong spent time at a nearby embroidery shop, learning the art of embroidery for puppet costumes.
Though he received traditional puppetry training, Hong has a different perspective on the old art form. Lin once mentioned the old puppet show Mulian Saves His Mother, which was performed for 7 days and nights.
Hong interacts with the audience during the show at the Drum Tower West Theatre in Beijing. PHOTO: CHINA DAILY
A new chapter
“Most people don’t have the patience for such a long show, but my teacher loved it very much. I want to re-stage it with my own ideas to appeal to today’s young audiences,” says Hong.
Traditionally, professional string puppeteers engaged only with string puppetry, the most famous and watched art form in Fujian. However, Hong believes the old art form needs to evolve.
“I want to master different puppetry skills,” he says. “Old plays are fading, and audiences are dwindling. Few young actors can master and inherit all the traditional skills.”
In 2018, Hong left Quanzhou to ride his bicycle along the coast through cities like Zhangzhou and Xiamen in Fujian, and Chaozhou and Shantou in Guangdong province. Taking his puppets, with about 20,000 yuan ($2,800) in his pocket, he performed for children at welfare institutions for free. Many of these experiences left a mark on him.
His goal was to find a way to innovate his art and connect with audiences. After more than a month of traveling, he arrived in Shenzhen, met Liu Ziyuan, the head of a youth theater troupe, and decided to stay. In 2022, the Shenzhen Puppet Art Theatre was established by Liu and Hong, with Hong as artistic director. Shenzhen, a dynamic city in Guangdong province, became fertile ground for string puppetry.
During the day, Hong trains young students interested in puppetry. At night, he performs, makes puppets, writes scripts, and works on new ideas for automatons.
“I also visit my hometown to see my teacher, Lin, who is now 76. I play mahjong with him and discuss my new shows. I am happy to make him proud,” says Hong.