San Yi Troupe's director and Qin Opera artist Hou Hongqin celebrated an unforgettable birthday backstage at Shanghai Oriental Art Center. Since its founding in 1895, the troupe—often called a "living fossil" of Qin Opera—has never abandoned its dream of heading east. On its 130th anniversary, this century-old troupe made its first appearance in Shanghai, showcasing the grandeur and passion of Qin Opera on an international stage.
On the evening of November 11, the curtain call for *The Flame-Colored Steed* was met with thunderous applause and cheers lasting over ten minutes. Backstage, Hou Hongqin cut a celebratory cake while encouraging her cast: "A great start! Let’s keep it up!" On November 15, her starring performance in *The Wordless Monument* will debut as part of the 24th China Shanghai International Arts Festival.
"Flying from Xi'an to Shanghai takes just over two hours, but it took San Yi Troupe 130 years to cross the Qinling Mountains and bring a full lineup to Shanghai," Hou told reporters. She was delighted to hear familiar Shaanxi accents outside the theater and even more surprised to see many young local faces in the audience. "Traditional opera can’t just rely on old traditions and old audiences," she said. Under her leadership, San Yi Troupe has stepped out of its comfort zone, expanding its reach with annual new productions and even venturing into trendy micro-dramas to attract new fans.
**Bringing Signature Works to Shanghai** "Just performing in a different theater—why does it feel so much more intense?" Hou remarked the day after *The Flame-Colored Steed*’s performance. After learning that *The Wordless Monument* was invited to the arts festival, the troupe made a bold decision: bring *The Flame-Colored Steed* to Shanghai as well.
First staged by San Yi Troupe in the late Qing Dynasty, *The Flame-Colored Steed* has been refined over a century. Among Qin Opera troupes, this play is considered the benchmark for artistic excellence, and San Yi’s rendition is widely regarded as the most profound and captivating. "We saw the festival as a great opportunity to showcase our traditional repertoire too," Hou explained.
With 160 members making their historic Shanghai debut, ticket sales quickly reassured the cast—both *The Flame-Colored Steed* and *The Wordless Monument* sold out days before the performances. Liu Gebing, the troupe’s assistant director, even added fans to a Shanghai-based fan group after meeting them outside the theater. When some complained about missing tickets, Liu invited a few to watch backstage.
"We’re not just bringing *The Flame-Colored Steed*—we’re bringing 130 years of San Yi’s legacy," Hou emphasized. Before arriving, some advised her to soften Qin Opera’s signature "roaring" vocals for Shanghai audiences. After days of deliberation, she refused: "The roar is our soul—the spirit of the Northwest and the essence of Qin Opera. We can’t lose our roots just to please. I believe Shanghai audiences are open-minded enough to understand the stories behind the roar."
Sure enough, during *The Flame-Colored Steed*, the audience was not only awed by the explosive vocals of the righteous hero Ai Qian but also moved by the sweet melodies of the female lead and the elegant movements of the young male lead—experiencing both the power and grace of Qin Opera.
**Winning New Audiences with Innovation** While preserving tradition, San Yi Troupe has also focused on creating new works in recent years. Productions like *Stories of Northern Shaanxi* and *The Wordless Monument* have earned high praise. The latter, a six-year labor of love, features Hou transforming from a lively maiden in *The Flame-Colored Steed* to the commanding presence of Empress Wu Zetian, exuding imperial majesty and depth.
Artistically, *The Wordless Monument* blends Qin Opera’s robust vocals with modern stage techniques, using lighting and poetic expression to bridge history and drama.
Hou joined San Yi Troupe after graduating from Xi’an Art School at 20. In Northwest China, Qin Opera enjoys a strong following—rural performances often draw crowds of thousands. When audiences couldn’t see the stage, the troupe set up speakers every 50 meters, letting fans enjoy live broadcasts on their phones while listening to the performance.
Though Hou rarely recalls a poorly attended show, she remains vigilant: "We can’t just rely on the past. Qin Opera must evolve and reach new audiences." To broaden its appeal, San Yi produced China’s first Qin Opera micro-drama, *The Flame-Colored Steed*. The 36-episode series, with each installment just minutes long, reimagines classic scenes in a fast-paced, visually engaging format. The series went viral, amassing 30 million views and converting many newcomers into fans—some Shanghai attendees came after watching the micro-drama.
"Shanghai audiences are discerning—they applaud sincerely at the end of each act because they truly appreciate the art," Hou observed. She noted that 80% of the troupe’s performers had never performed in Shanghai before, but the warm reception boosted their confidence. "If possible, we’d love to return every year, bringing *Women Generals of the Yang Family* and *The Case of Executing Chen Shimei*—to show how Qin Opera stands apart."
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