Monkey King On and Off Screen: The Operatic Roots in the Animated Film Havoc in Heaven

Have you ever wondered why the Sun Wukong, wielding his golden cudgel on the screen, carries a touch of opera charm?

It’s because Havoc in Heaven, a milestone in the history of Chinese animation, has been deeply rooted in the art of Peking Opera since its creation: animators went to opera schools to “learn the craft”, translating stylized movements such as tumbling, striking a pose on the stage and cudgel-wielding onto the screen. The “warm-up” by the little monkeys when the Monkey King appears at the beginning of the film is a direct reference to the stagehand deployment after the gong sounds in Peking Opera; even the rhythms of his somersaults and golden cudgel moves carry the rhythm of the stage. It can be said that the “Great Sage Equal to Heaven” on the screen was nurtured in the soil of traditional opera from the very start.

On the occasion of the 50th anniversary of the passing of Peking Opera performing artist Mr. Li Shaochun, this event invites Wang Haoqiang—deputy head of the First Troupe of the National Peking Opera Company, first-class actor, and a specialist in martial roles (Wu Sheng)—to give an on-site sharing and performance. He once studied under renowned artists such as Li Guang and Li Jingde. In 2019, he completely staged the full version of Havoc in Heaven, adhering to the style of the National Peking Opera Company, which is exactly the style of Mr. Li Shaochun. Wang will demonstrate classic excerpts of Monkey King plays on site, guiding the audience to experience the charm of “performing martial roles with the grace of literary roles” (Wu Xi Wen Chang).