Two thick, cold black stone walls stand at the sides of the stage; warriors dressed in heavy metal armor run on and stand along the walls holding big sticks; a few warriors show up at the top of the walls, laughing and throwing down severed heads.

Starting with such a sensational and violent slaughter scene, director Lin Zhaohua's latest theater production, The Assassin, first appears as if it is a serious historical piece that admires a heroic assassin.

The poster of The Assassin features the duo Pu Cunxin and He Bing.
 
Things turn the other way, however, as the assassin, Yu Rang, fails to murder the king Zhao Xiangzi after numerous attempts and in the end, the audience bursts into laughter at Yu's blunders. Knowing he is not capable of killing Zhao, Yu Rang begs to stab Zhao's gown instead. But he is not even able to raise his short dagger and so Zhao offers him his gown in pity.

To most Chinese, Yu Rang is not as famous as other assassins such as Jin Ke, who tried to kill Emperor Qin Shihuang. But Yu Rang's final words are very well known: "A gentleman is ready to die a loyal death for those who know the worth of him; a woman is eager to live a happy life with one who touches the chord in her".

Touched by the famous saying, the playwright Xu Ying created the story a few years ago based on the account of Yu Rang in Shi Ji, the historical records compiled by Sima Qian (145 - 90 BC).

In 453 BC, Zhi Bo, a minister in the state of Jin, ordered the invasion of the enemy state of Zhao as part of his ambitious plan to become the ruler of Jin. He miscalculated and ended up being killed by Zhao.

The Assassin features a sensational opening sequence.

Yu Rang, a close follower of Zhi Bo, vowed to avenge his master who had treated him kindly. Disguised as a prisoner, Yu Rang bided his time to assassinate Zhao. When the occasion finally presented itself, Yu Rang was foiled and taken prisoner.

Impressed and intrigued by Yu Rang's extreme loyalty to his former master, Zhao let the assassin go. He even went to great trouble to stay out of Yu Rang's way. Yu Rang, however, carried on his mission. He camouflaged his identity by disfiguring his own face and scalded his throat to change his voice. His chance came, but he failed again. Before dying, the assassin bequeathed the world with his famous saying. 

Pu Cunxin (right) plays the king Zhao Xiangzi.
 
In playwright Xu Ying's mind, "assassination" is an extreme violence but it reflects the ancient Chinese people's moral code of justice and righteousness.

"Most of the Chinese assassins lived in the turbulent ancient times, with warlords carving up the country and vying for the throne. They would support their lords or do what they believe is justice regardless of their own safety. Their courage is worth of admiration," says Xu.

"I don't want to sing praise of Yu Rang's extreme loyalty, but I have to acknowledge that he touched my heart. I want to express it through the play and hope it makes the audience forget the bustling world outside the theater."

However, as always, director Lin has his own unique understanding of the historical story. Clearly, his interpretation has nothing to do with admiration for the assassin. In his direction, he exaggerates Yu Rang's blind loyalty and satirizes his ridiculous actions.

Lin's view on blind loyalty in China's feudal times is interpreted into his play Orphan of the Zhao's Family (2003). Before that, Lin had read Xu's play, which was written originally as a Peking Opera.

"Sima Qian compiled Shi Ji based on his understanding of history. But we don't have to follow his interpretation. I put my own thinking into the drama and it promotes discussion: What is a real hero? Is it worth torturing and even killing himself to avenge for such a master as Zhi Bo? Is Zhao really a tolerant and wise king who let Yu Rang go again and again? The audience can make their own judgments," says the 71-year-old director.

He Bing as assassin Yu Rang in the play.  

No matter what message the playwright and the director try to give, audiences can enjoy an amazing abstract setting and gorgeous costumes and listen to Oscar-winning composer Tan Dun's music. Lin also tried new theatrical approaches such as using Peking Opera routines and physical movements choreographed by a modern dancer.

Most Beijing's theater-goers would not expect Pu Cunxin, who normally plays the hero, to accept such a villainous role as Zhao. Meanwhile, He Bing enjoys himself to the full playing the "ridiculous" assassin Yu Rang.

The role challenges He both physically and mentally. He jumps, crawls, rolls, fights and throws himself around the stage. He also cries hysterically in the scene where he disfigures his own face and scalds his throat.

The actor who starred in director Lin's Orphan of the Zhao's Family in 2003 says that Lin's direction has benefited him greatly. "I found that I had finally understood what Lin wants from an actor. I want to work more with the open-minded director and learn more from him," says He.

In He's eyes, Yu Rang is a tragic figure.

"He is great as well as ignorant. In that special time, his extreme loyalty put him into a blind alley. He did what normal people would not do but it's hard to say if he is right or wrong. Personally, I don't like the character," says He.

The Assassin is running at the Capital Theater till August 19 and will tour Shanghai for four performances on August 23 to 26 and then move to Shenzhen and Chongqing next month.

(China Daily August 11, 2007)