The relatively parochial nature of ke-tsai opera gives Tang a great deal of the freedom that she relishes, allowing her to make bold experiments, as she has done with The Immortal Lover.
Her attitude is that if ke-tsai opera, with its relatively short and eclectic history, cannot incorporate new ideas and methods, then Chinese opera as a whole is doomed. "Even forms like nan-kuan, with its 1,000-plus-year history, is making changes," she said. "There is nothing stopping us."
Tang speaks with the authority of experience, for she comes from an operatic family, her father having performed during the hey-day of ke-tsai opera from the 1920s and early 1930s. It was a time when the simple local opera found itself transferred to big indoor stages, performing to packed houses, its stars on a par with major Hollywood figures today.
Its popularity has since fallen, but Tang believes some sort of revival is possible. To some extent this is related to the resurgence of Taiwanese consciousness, for ke-tsai is the only form of opera indigenous to Taiwan.
"It's a great way for kids to get in touch with the language," Tang said.
All of this has brought its share of criticism from traditionalists. "I can deal with it," said Tang confidently. "I make them tell me why they think something isn't right. I can take this criticism. But no one doubts that what Tang Mei-yun performs is ke-tsai opera. There is no question on that issue. I don't feel I have betrayed the art form in any way."
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