Lord Jiaqing’s “Very Peri”—Chen Ya-Lan: I Want to Make Taiwanese Opera Fashionable For All The World To See
Text: Hsueh-Hui YUAN
Photography: Yen-Ting LIN
Editing: Hui-Jun YANG; Editing: Hsiao-Fan SU, Shih-Yun CHANG
Translated by: Matthew MUCHA
Chen Ya-Lan's nomination for Best Actor at the Golden Bell Awards has sparked considerable discussion. The judges explained that she was shortlisted because she "managed to convince us that she was the teenager in the drama, while also convincing the audience that she was the lead actor." (Above photo: Lin Yen-Ting)
The finalists for the 57th Golden Bell Awards have been announced, and the name “Chen Ya-Lan” is making waves. With Lord Jiaqing and the Journey to Taiwan, she has set a historic milestone as the first Taiwanese TV actress and “biological woman” to be nominated for Best Actor in a Leading Role. Much like the periwinkle blue color “Very Peri” – the Pantone Color of the Year for 2022 – that was featured in Lord Jiaqing's costume design, the drama blends tradition and modernity. It is both a historical drama and a classic Taiwanese opera. Chen Ya-Lan doesn’t confine herself to others’ definitions; instead, she focuses solely on bringing the opera to the forefront and making sure it is seen.
(Editor's note: On October 22, 2022, Chen Ya-Lan became the first female actor in Taiwan's television history to win the Best Actor award.)
The announcement of Chen Ya-Lan’s nomination for “Best Actor” at the Golden Bell Awards has sparked diverse discussions. Some have praised the move as a “breakthrough in the gender framework,” noting that many international awards have eliminated gender categories, allowing transgender and non-binary performers to compete without being constrained by the traditional binary gender system. This, they argue, is a significant step forward in terms of social progress.
On the other hand, some critics contend that labeling women playing male roles and men playing female roles as examples of gender diversity or transgender representation oversimplifies the concept of gender equality. They argue that calling Chen Ya-Lan the “movie star” winner instead of recognizing her as a “female actor” might sidestep the issue of gender equality. Some have pointed out that these differing views highlight the limitations of the traditional recognition system when it comes to cross-gender roles, as well as the need for a more nuanced approach to evaluating performances.
Kun Sheng's Finalist for Leading Actor: The Essence of Traditional Xiqu Performance Revisited
Chen Ya-Lan is quite candid about her experience. She said, “When Yang Li-Hua's opera was revived after a 16-year hiatus, I initially applied for the Best Actor award because we were playing the male leads. At the time, however, there was no precedent for such a nomination. It was only after media coverage that the Golden Bell Awards began considering defining awards based on roles. Once that shift occurred, we were able to apply for the Best Actor award three times: first for Legend of the Dragon, then for Loyalty, Filial Piety, and Virtue, and most recently for Lord Jiaqing and the Journey to Taiwan.”
Just like 60 years ago, at the 2nd Golden Horse Awards, Ling Bo, who gained widespread fame for her role in the Huangmei opera film Liang Shanbo and Zhu Yingtai, presented the judges with a unique challenge: should her portrayal of Liang Shanbo be nominated for Best Leading Actor or Best Leading Actress? Ultimately, the Golden Horse Awards presented Ling Bo with a special Best Actor award, attempting to resolve the dilemma created by her role as Liang Shanbo.
Beyond the issue of gender categorization, the real concern may lie in the public's perception of "backstage acting" versus the traditional cultural context of Xiqu. How are the performance qualities of Xiqu understood in contemporary times? And how should the boundary between tradition and modernity be defined?
In traditional Xiqu, the term “fanchuan” (meaning “gender role reversal”) is not used to classify the roles of actors and actresses according to their own genders.
The term “fanchuan” is often perceived by the general public as “male dressed as female” or “female dressed as male”, but in fact, this perception is a misunderstanding of the Xiqu culture.
In traditional Chinese opera, it is customary for a man to play a female role, known as a “qian dan,” and for a woman to play a male role, known as a “kun sheng.” Take Chen Ya-Lan, for example: when she first began her training, the role type she specialized in was the “Sheng Jiao” (male role). As such, it is only natural for an actor performing a male role to identify as the “male protagonist” and not question this due to their biological sex. According to the principles of Xiqu (traditional Chinese opera), if Chen Ya-Lan, whose primary role type is male, were to take on a female role in a production, it would be considered “fanchuan.” Therefore, within the cultural context of Xiqu, her performance in a male role does not equate to “breaking the gender framework.”
Portraying a male character as a woman is, in itself, a significant challenge. As Ms. Chen Huiling, Chairwoman of the Admiralty Jury, pointed out, Chen Ya-Lan’s success lies in her ability to “convince us that she is both the teenager in the drama and the male lead.”
In the past, most performances nominated for the Golden Bell Awards in the program category focused primarily on the songs themselves. However, this year, the jury shifted its focus to the traditionally overlooked performance aspects of Xiqu (Chinese opera), evaluating them from a more professional standpoint. This change has sparked renewed discussions, particularly after Kun Sheng’s nomination for Best Actor, giving the public a chance to rediscover the depth of traditional Xiqu.
“I’m thrilled to be recognized,” said Chen Ya-Lan, “but I also feel aggrieved for my mentor, Yang Li-hua. I’ve always hoped she would have been a finalist in 2019. She is the embodiment of opera in Taiwan, and I don’t know how many women would want to marry her—her male roles are incredibly compelling. But in the past, people have been limited by tradition and haven’t fully acknowledged this aspect.”
“As my mentor said, times are changing, and I'm grateful to the Golden Bell Awards and the judges for thinking outside the box - and I'm even happier that the word 'opera' has been seen.”
"Lord Jiaqing and the Journey to Taiwan" is a beloved Taiwanese folk legend, and the variety show "Modern Lord Jiaqing", hosted by Chen Ya-Lan and Chu Ge-Liang, was once a massive hit. Widely regarded as the ideal actor to portray Lord Jiaqing, Chen Ya-Lan was chosen to reprise the role in 2022. This not only marked her return to the iconic legend but also celebrated the 60th anniversary of Taiwan Television. However, for Chen, the true focus of the project was "the journey to Taiwan."
She views "Lord Jiaqing and the Journey to Taiwan" as a platform to highlight the rich and diverse tapestry of Taiwanese culture—showcasing everything from local folklore and historical landmarks to the vibrant flavors of Taiwanese street food. “While oyster omelettes won’t make an appearance in the drama,” Chen explained, “I invited Mr. Wu Xiong to write the lyrics for the ending song, which mentions various places across Taiwan, from cities to regional dialects, both in the north and south. My goal is to use this play as a way to share Taiwan’s essence with Chinese-speaking audiences around the world, helping the international community gain a deeper understanding of Taiwan.”
In pursuit of her dream to modernize opera and give a voice to Taiwan, she enrolled in National Taiwan Normal University to further her studies
A foreign theater designer friend of Chen Ya-Lan’s once drew her an enthusiastic design for an opera house, urging her to preserve Taiwan’s unique cultural identity. Chen Ya-Lan feels deeply that, as Taiwan's native theater, running a successful opera is akin to giving a voice to the land of Taiwan: “Just like going to New York to see Broadway, Italy for opera, India for Bollywood, or Japan for Kabuki and Takarazuka... Taiwanese opera is Taiwan’s own native theater. It can’t be compared to anything else. What others don’t have, that’s where your strength lies.”
For Chen Ya-Lan, Taiwanese opera is both her roots and the very color of her life. She strives to make it more vibrant and ensure it doesn’t fall behind the times. “I should do what I can to make opera ‘fashionable’,” she says, though she admits, “I don’t read much.” When she was young, she joined the opera troupe and helped with household chores, but she didn’t have the opportunity to continue her formal education. Now, as a beloved figure with millions of fans, she has some regrets. In 2017, she enrolled in the GF-EMBA (Master of Fashion Management) program at National Taiwan University. There, she connected with cross-disciplinary teachers and classmates, including the former director of the National Palace Museum, Feng Mingchu, and the “godmother of advertising,” Sandra Yu. Together, they formed a group called “Give Taiwanese Opera a Hand” to exchange ideas and information about the future of Taiwanese opera.
“I’m a bit shy and don’t feel comfortable talking to people I don’t know well,” she says. “But after stepping outside the opera circle, not only did I expand my knowledge, but I also made many new friends.” Chen Ya-Lan’s dedication to promoting opera has earned her the support of her peers. She was even awarded the “Outstanding Student” prize by National Taiwan Normal University, becoming the first master’s degree student in years to receive the honor. This recognition reflects her genuine commitment to “fashioning” opera—not just as a slogan, but as a meaningful pursuit. Her sense of style is evident not only in the iconic periwinkle blue gown worn by Lord Jiaqing, but also in the black dress she wore during the interview, complemented by a lace scarf and necklace.
In her costume design for Lord Jiaqing, she drew inspiration from the "Color of the Year"—periwinkle blue—and infused it with elements from her personal observations of cultural artifacts. “Director Feng Mingchu took us on a tour of the Forbidden City, where we saw a collection of Qing dynasty snuff bottles. I found them so beautiful! Their delicate craftsmanship and elegant color combinations really struck me, so I took a picture and shared it with the three costume designers to help communicate the idea.”
When the designers were unsure about how to differentiate the two opposing heroines in the drama, Chen Ya-Lan came up with the concept of the "white peacock" and the "green peacock," inspired by the contrasting personalities of the characters.
Chen Ya-Lan continues to push Taiwan’s opera scene forward, keeping it fresh and relevant. The periwinkle blue costume for Lord Jiaqing is one example of the creative nourishment she received through her GF-EMBA program at NTNU. (Photo courtesy of Chen Ya-Lan, Taiwanese Opera)
Half a lifetime of love with Yang Li-Hua's mentor and student
“I was very lucky to meet someone who was incredibly kind to me right after I graduated,” she says, referring to her mentor, Yang Li-Hua. “She not only taught me acting, but also how to treat people.” During the interview, Chen Ya-Lan mentioned her mentor, Yang Li-Hua, multiple times in just a few sentences. After all, meeting Yang Li-Hua was the pivotal turning point in Ya-Lan's life.
In response to the changing times, the opera genre has evolved, embracing various forms of media such as recordings, radio, movies, and television to reach diverse audiences. Television, in particular, played a key role in bringing opera to the masses, making it more accessible to the general public.
In the 1960s and 1970s, when Chen Ya-Lan was growing up, the three major TV stations—CTV, TTV, and CTS—operated in a “three kingdoms” rivalry, and TV opera was at the height of its popularity. It became the most beloved form of entertainment for the masses, and the phrase “turning on the TV to watch an opera” became a shared cultural memory for many in Taiwan. As the leader of TV opera, Yang Li-Hua became a household name across Taiwan. In 1981, she was invited by the New Elephant International Arts Festival to perform “The Fisherman” at the National Father’s Memorial Hall, marking a new chapter in bringing TV opera to prestigious national stages.
From the late 1980s to the 1990s, various TV stations adopted a method of grouping well-known actors and actresses to produce TV opera series, with prominent figures like Yang Li-Hua (TTV), Huang Xianglian (CTV), and Ye Qing (CTV) leading the way. However, despite these efforts, the popularity of these performances no longer matched the heyday of the genre.
In 1984, Chen Ya-Lan made a brief cameo as Song Renzong (Emperor of the Song Dynasty) in the Minghua Troupe's Fathers and Sons. Although her role was small, she was instantly noticed by Yang Li-Hua. "I saw you on TV! I saw you on TV! Do you want to come and act in my opera?" Yang Li-Hua called her, clearly impressed.
Excited by the unexpected opportunity, Chen Ya-Lan was so overwhelmed that she lost track of time. By the time she gathered her thoughts, she found herself living in her mentor's villa in Tianmu. The two, both strong-willed and determined, quickly formed a lasting bond. It was Yang Li-Hua who also gave her the stage name “Ya-Lan”, cementing their connection for the rest of their lives.
Chen Ya-Lan's birth name was “Chen Wen-chui.” However, her parents heard that this name was considered unlucky and might lead her to become a concubine, so they changed it to “Chen Mei-Ru” when she joined the family’s opera troupe. They believed a name with 31 strokes would bring success in her career. Later, after joining the troupe, Yang Li-Hua gave her the stage name “Chen Ya-Lan,” inspired by the French actor Alain Delon, hoping to bestow upon her a “superstar destiny.”
In both her artistic career and personal life, Yang Li-Hua often offered Chen Ya-Lan advice, gently pointing out her mistakes but rarely praising her successes. “I have to hear from others that she recognizes me,” Chen Ya-Lan reflects, explaining Yang’s unique way of acknowledging her achievements.
Inspired by Alain Delon, often called “the most beautiful man in France,” Yang Li-Hua gave the actress, whose real name is Chen Wen-chui, the stage name “Chen Ya-Lan,” believing it would bestow upon her a “superstar destiny.” (Photo: Lin Yen-Ting)
However, the love and care of her mentor also led to her being “ostracized” by her peers at first. “At that time, Chi Li-Ru was the ringleader in ostracizing me!” she recalls with a smile, laughing at the dust of the past. She goes on to explain, “There was a role of a master in the play Han Xin, which was originally meant for Chi Li-Ru. It required swordplay and martial arts moves, but Auntie Yang later reassigned it to me, knowing I had some experience with stage performance.”
Chen Ya-Lan, who had traveled alone from the south to the north, lived in Yang Li-Hua’s home and faced scorn from others. "When I ate with the theater troupe, no one wanted to eat with me," she recalled. Then, one day, she took to the stage to perform a sword fight. Afterward, Chi Li-Ru approached her and said, “Do you know what? When you first arrived, you stole my role, so I told everyone to ignore you. But after watching your swordplay, I realized you have real skill, so I’ll let it go!” From that moment on, she and Chi Li-Ru became close friends and have remained so ever since.
Chen Ya-Lan describes herself as a "simple" person. "The children from the south are all very straightforward, a bit naive, and I honestly don’t know who would be hostile to me."
After her mentor Yang Li-Hua retired, Chen Ya-Lan took up the mantle and continued her work on stage and screen. “She used to hold my hand, but now she won’t let go, and I won’t let go either. But I’ll free up my other hand to do my own thing, and she’ll see that."
Born in a theater troupe, she only started training rigorously at the age of 17.
Chen Ya-Lan grew up in Penghu. Both of her parents were opera singers, but when they had to go out to perform, they would temporarily send her to stay with relatives. At that time, her father, known as "Gendarme Chen," had founded the famous Bao Yin She Girls' Opera Troupe, while her mother was a renowned supporting actress in the troupe, famous for her portrayal of Guan Gong (the God of War). From an early age, Ya-Lan’s "gods" and heroes were her family. Her "Guan Gong"—her mother—would cook, clean, and put her to sleep.
However, at first, Chen Ya-Lan wasn’t fond of performing in opera. "There used to be a saying, 'Parents have no voice, but they send their children to the theater,' meaning that if the family wasn’t well off, the troupe would offer support," she recalls. Chen Ya-Lan’s mother was one of those children sent to the opera troupe. "I felt like I wasn’t as good as the others. As a child, I felt very ashamed because the other kids had parents who cared for them, but we didn’t have that. We didn’t have parents around, and our home environment wasn’t ideal. There was always a sense of... well, fear that people might look down on us." Her family was so isolated, surrounded only by props and set pieces for performances, that she was reluctant to invite classmates over. She also didn’t enjoy learning to sing opera.
It wasn’t until she returned from boarding with a relative to live with her parents that Chen Ya-Lan truly understood how difficult life could be as a member of a theater troupe. To make it easier for her to perform, her family lived next to a temple, where they interacted with a variety of people. Moreover, her father, who was strict, kept her close to prevent her from becoming a poor student. He took her along to observe the life of the troupe—how they made a living, supported their families, and cared for one another. At the age of 17, she made the decisive choice to pursue acting. By then, her muscles had already begun to toughen, but she gritted her teeth, practiced diligently, and worked alongside her parents to help run the troupe and support the family.
In a recent TV interview, Chen Ya-Lan shared a poignant memory: after a day of filming, she came home one evening, and her father asked her what she wanted to eat. For the first time, she boldly asked for “goose meat and glass noodles,” feeling that by appearing on television, she was honoring her family. This newfound confidence allowed her to be a little indulgent and ask for what she desired.
The last time her father visited her was in 1987, while she was filming the drama Wild Flower Floating in the Cloud Dream. At that time, Chen Ya-Lan’s career was soaring, and her family, not wanting to worry her, kept her father’s illness a secret. It wasn't until a year later, while she was filming New Moon in the West River, that she received a phone call revealing the devastating news: her father had passed away from stomach cancer.
Selling a house to support a scene in “Lord Jiaqing”.
Chen Ya-Lan is not afraid to sell her house to subsidize the production of “Lord Jiaqing and the Journey to Taiwan”, but also to bring theater fans the “beef” in the form of a good show. (Photo: Lin Yen-Ting)
In the late 1990s, under the changes in the form of new TV technology and the market, the TV opera was getting tired, but Chen Ya-Lan, who had a strong heart, kept struggling on this path.
After Yang Li-Hua’s taiwanese opera troupe released Red Dust and Wonderful Heroes in 1997, and after Yang Li-Hua and Chen Ya-Lan co-starred in The Love of a Gentleman and His Subjects in 2003, TV operadisappeared from the small screen for a decade. It wasn’t until Chen Ya-Lan's Legends of the Dragon in 2013, and later Lord Jiaqing and the Journey to Taiwan this year, that the genre made a comeback. Similarly, Yang Li-Hua’s troupe returned to TV after 16 years, between The Love of a Gentleman and His Subjects and the release of Loyalty, Hymn, and Virtue. For Chen Ya-Lan, producing a TV opera is about carrying forward the DNA of Yang Li-Hua’s legacy, not just keeping up with the times, but also doing her utmost to honor that tradition. However, there are two major obstacles: a gap in talent and a shortage of resources.
The first and foremost challenge in staying current is integrating scripts with the pulse of contemporary society. "With the right scripts, we can tailor the stances and songs to match the emotional highs and lows of the story, ensuring the overall rhythm aligns with the current pace." Finding scriptwriters for TV operas is difficult, as they need to be well-versed in literature, history, and culture, as well as fluent in the Taiwanese language and familiar with the rhythms of the songs. This shortage of skilled scriptwriters has made it challenging to anchor the productions in the rich traditions of the past.
Secondly, the director, actors, and the entire filming team must be proficient in the language of the camera and the art of television opera, much like mastering 18 different styles of martial arts. "The previous sets were incredibly strong," she explained, "because Taiwan lacks suitable locations for costume dramas—there’s only the China Film Culture City. For other locations, we have to build the sets ourselves, and we must carefully monitor the progress."
Television opera is typically shot with three cameras, and the director, actors, and actresses must work in close cooperation. Songs need to be recorded in the studio, and post-production is crucial. Rehearsals are also necessary before shooting each scene. All of these details require the expertise of specialized professionals, but Taiwan has been facing a shortage of talent in this field. "After 16 years, I returned to Taiwan and found a significant gap in professional skills. Some talent was hard to find, and new people needed to be trained. That’s why Auntie Yang always emphasized the importance of retaining talent in Taiwan."
Chen Ya-Lan sighed and remarked, "Taiwanese opera is the only form of costume drama in Taiwan, but the problem is finding a suitable location. What do we do when the site is full of electric poles? They all have to be painted over in post-production, which costs a fortune! That’s why no one dares to produce costume dramas."
With the decline of TV opera and the soaring costs of costume drama production, the future looks bleak. As TV actor and singer-songwriter Lam Mei Chiu pointed out, while being nominated for the Admiralty Awards is a mark of an actor’s skill, the reality is that even an award-winning singer-songwriter can’t change the economics of traditional arts. Costume dramas are expensive to produce, and even more so for singer-songwriters. Despite being beloved by many viewers, the chances of these projects being funded by a TV station remain slim.
Even with subsidies from the Ministry of Culture and corporate sponsorships, there was still a huge shortfall in production costs, but Chen Ya-Lan was not willing to give up:
“It's like serving beef noodles without the beef. If you don't have the money to make the beef, how can it be called beef noodles? I won't serve a bowl of beef noodles without making it good.”
In order to fill the funding gap of “Lord Jiaqing and the Journey to Taiwan”, Chen Ya-Lan sold several houses and temporarily stayed at Yang Lifa's house.
Never giving up on television broadcasting: it's the strongest DNA she’s inherited
Although she acknowledges the intense anticipation surrounding the second installment of Lord Jiaqing, which has sent shivers down her spine, Chen Ya-Lan has never considered abandoning the TV opera. “Why have I focused on the legacy of TV opera? Because it's the most powerful. Thirty episodes of Lord Jiaqing attracted more than 15 million viewers, while the National Theatre can only seat 1,500. How many performances would it take to reach 15 million people?” Chen Ya-Lan believes that while she has her own professional path to follow, the power of television opera is an essential part of her mentor's legacy—and her own. It's a force that must be passed on.
Beyond the practical aspects, another significant challenge in TV opera is balancing traditional elements with modern expectations. Television’s use of realistic sets, along with the camera's ability to zoom in and out for close-ups, inevitably reduces the virtual nature of the traditional stances. At the same time, in order to stay relevant in today's fast-paced world and attract a broader audience, singing segments have been shortened to meet the “fast-food” pace of contemporary society. Additionally, the way media images are produced has undergone multiple revolutions. Keeping up with these changes and maintaining the audience's engagement is an ongoing challenge for modern TV opera productions.
"What's next?" she was asked. She answered bluntly, “Next is to make money. There are no more houses to sell.” In order to fund the second installment of Lord Jiaqing, Chen Ya-Lan took on TV drama roles, became a variety show host, and took the unprecedented step of launching Taiwan's first crowd-funding program for TV opera on the internet, allowing viewers to become co-producers of Lord Jiaqing Journeys to Taiwan Again.
She had once hoped to create an autobiographical stage production titled Chen Ya-Lan's Life Crossing, but the project was shelved due to the pandemic and the shifting landscape of opportunities. In light of current events and the ongoing crisis, Chen Ya-Lan expressed a desire to create something lighter. “It's not that I don't want to create work with substance,” she said, “but I don't want to put too much pressure on people. When we were filming Lord Jiaqing, I wrote a song called ‘Hello Taiwan,’ hoping to inspire people not to lose hope or feel sorry for themselves. Taiwan is already under the protection of the Gods.”
For Chen Ya-Lan, theater must resonate with the pulse of society. 'What we offer to society should reflect its current climate—whether it is a time of excitement or tension. The stage should be a space of boundless imagination, ever-evolving and unconfined by tradition.'"
“Many people say what does passing on the torch have to do with you? They say you gave your youth to the opera. How old are you? Don't you want to think about retirement? ⋯⋯That's just what people say, you know what you want to do and what you want to stick to.”
With her “foolhardy air”, this southern troupe child has supported the power of the opera on TV. Compared to other actors in ordinary dramas, she is not only responsible for one drama, but also the future of the whole opera on TV.
2022/10/18
Text: Hsueh-Hui YUAN
Photography: Yen-Ting LIN
Editing: Hui-Jun YANG; Editing: Hsiao-Fan SU, Shih-Yun CHANG
