The desire to hear stories is implanted in our DNA from childhood. They are like a key to the door of understanding when we first toddle into the world and, to some extent, shape our perception of life.
Every story needs a teller. Playing with tones and tongues, these narrators turn staid written accounts into vivid tableaux, bridging the past and the present and blurring reality with the imaginary. Great stories are remembered, passed down and engraved in people’s memories.
South China is famous for its own form of oral tradition, known as gong gu (讲古). Even though it was listed as one of Guangdong’s intangible cultural heritages in 2009, this folk art is a fading pastime, as few gong gu lou (male storytellers) continue the profession. Once, however, they were revered as much as TV stars, enchanting the populace with their engrossing legends and fables.
Lin Zhaoming is one of the last of this dying breed. After graduating from Guangzhou University with a bachelor’s degree in law, Lin was expected to work toward becoming a judge. Instead, he chose to walk a road less profitable: as a stage actor and a gong gu lou. Having performed in over 400 Cantonese theaters and retold 18 major works, Lin now has a quiet life in Panyu District. During his one-and-a-half-hour talk with us, the grey-haired artist seldom stops to drink the tea he holds in his hand. His clear, loud and resonant voice transports us back to lazy afternoons when we used to listen to him on radios and cassettes.
I suffered during the Cultural Revolution. I was made to stand on a table with my head held up against the ceiling from 6 in the morning till 12 at noon, 2 in the afternoon till 10 in the evening. If I moved a little, the guard would just beat me with a stick
When did you start doing storytelling?
I started when I was around 10. I told stories to peers and they seemed to enjoy it. It was in 1979 that I did regular storytelling at Radio Guangdong. Now I am 86. How time flies!
What attracted you to telling stories?
I just love doing it. You know, our life can’t do without stories. We hear stories before learning the ABCs.
What do you think makes a good storyteller?
It is hard to set a standard. If you must ask, there are three in my opinion. First of all, a good storyteller should have audiences understand every line he reads. That means he should pronounce Cantonese clearly and correctly. Those who know little or no Cantonese can’t take on the role as a gong gu lou. And then comes the tempo and the tone. Talking without fluctuation is hypnotizing. No one likes it. Finally, the plot. It is the plot that draws the most attention.
Voice is considered vital for a storyteller. In what ways do you protect your voice?
I should thank my mother, who bestowed me with a clear voice. Voice always comes first. But without practice, your voice cannot reach a professional level. Back in the 1970s, there were no advanced facilities like microphones. Nine out of 10 times, we gong gu lou faced audiences of over 1,000. If you don’t practice offstage, how can you capture all their attention with just your voice? I used to have over 300 shows a year. That resulted in a huge number of practices. So you see my voice now is still loud enough for hawking, if someone wanted to hire me!
What do you think the gong gu lou of your time contributed?
I dare not say we’ve made a great contribution to this folk art. But one thing I’ve always taken pride in is that we treat gong gu very seriously. Many may think we read straight from the original works. In fact, we seldom do that. I rewrote all the stories I told, as written Mandarin shares little in common with oral Cantonese expression. Lots of changes are required. My manuscripts weighed 20 kilos, containing 10 million words. That kind of earnestness is the most precious thing we left to gong gu.
The peak of your storytelling career was reached when you started to tell the Journey to the West in the 1970s. The novel has around 1,000 characters, ranging from animals to humans, evil beings to immortals. How did you manage to interpret all of them?
It gave me a big headache when I was given the task of telling the novel. I read the novel again and again and thought again and again. And gradually an idea occurred in my mind: even though there are many characters in the work, the major focuses are on Monk Xuanzang, Monkey King, Monk Pig and Monk Sha. If I could vividly illustrate these four roles, then I might consider it a success. The first character I molded was Monk Pig.
At that time there was a bike repairman living near my house who liked to talk with me every time I walked by. He spoke slowly, sometimes with a little stutter. And that struck me as the way to present Monk Pig, a lazy and foolish character. Then, what about the smartest and proudest Monkey King? I asked my son who was keen on animals. He gave me a perfect answer: speak fast with high tones. Monk Sha is a nice and measured guy, so he should have a less varied, deep voice. Finally, Monk Xuanzang [emerged], the ultimate goody-goody. I gave him a clear and light voice. And he mustn’t speak fast, that’s not what a well-educated man should do.
Do you still remember what it was like when your Journey to the West was broadcast?
It was totally beyond expectation. Everyone listened to it. Once, I was walking from Dongshan Lu to Yonghan Lu, and many people were sitting or squatting in front of the shops on the street, attentively listening to the radio. The volume was turned to the max. I had heard a full episode when I arrived at Yonghan Lu. I was just over 30 at that time.
Then you were the Andy Lau of that time!
I was not as much of a superstar as he is! But everyone recognized me. I felt content. Oh, did I mention that all radios at shops were sold out?
Did you go through any hardship during your career?
Journey to the West crowned me as well as drowned me. I was once accused of spreading superstitions and the story was nearly suspended. Luckily, my perseverance in doing it moved the superior, and the storytelling was allowed to continue. But that sowed the seeds of the bitterness I suffered during the Cultural Revolution. I was made to stand on a table with my head held up against the ceiling from 6 in the morning till 12 at noon, 2 in the afternoon till 10 in the evening. If I moved a little, the guard would just beat me with a stick. It was toilsome and unjust.
Have you ever regretted becoming a gong gu lou?
Absolutely not. I am crazy about telling stories. No regrets, even during the time I was criticized and denounced in public. My career has brought me disasters, as well as fulfillment and happiness.
You just finished recording a new story for Radio Guangdong. Any future plans?
Oh, I am an 86-year-old man. Not enough time, you know. I feel a bit tired, honestly. But my obsession with storytelling will never fade. I live for it, and I shall die for it.
// To listen to a recorded interview of Lin Zhaoming with Radio Guangdong, click here or scan the QR code.
0 User Comments