The stage is a canvas where time is often compressed, but for the performer, the weight of a character is measured not in minutes, but in the depth of the history they carry. To play the “Old Master” is to accept a burden of gravity that few other roles demand.
For the artist, the journey into the beard of the patriarch is often a gradual ascent. One might begin as Xiao He, the Han Dynasty minister, or the stern abbot of Outlaws of the Marsh. One might play a father losing a daughter to bandits, or the Dragon King of the Sea, shifting from Taoist to Buddhist to deity. But among the pantheon of bearded figures in classical Chinese dance, none command the reverence-or the stillness-of Laozi.
This is not merely an old man; he is the forefather of the myriad distinct mysteries, the author of the Daodejing, and a figure whose very existence blurs the line between history and myth. In Shen Yun’s 2017 piece Bestowing the Tao, the challenge was not just to dance, but to embody the void from which all wisdom flows.
The Myth and the Man
Laozi (or Lao-Tzu) exists in the haze of antiquity, a figure as elusive as the Tao itself. Legends suggest a gestation of 81 years, birth with white hair, and a lifespan stretching past two centuries. Historically, he is placed in the 6th or 5th century B.C.E., serving as a librarian in the Zhou Dynasty’s imperial archives-a keeper of knowledge who would eventually distill the essence of the universe into 5,000 characters.
His magnum opus, the Daodejing (The Book of the Way of Virtue), remains one of the most translated texts in human history. It acts as the linguistic root for the Chinese concept of morality (dàodé). Yet, interpreting the sage requires more than reading his words; it requires understanding the silence between them.
The Architecture of Silence
How does a dancer speak without a voice? This is the central paradox of performing Laozi. The answer lies in qián tái cí (潛台詞)-the “unspoken lines.”
This concept serves as a bridge between the physical and the metaphysical. It is the subtext, the mental script that runs parallel to the choreography. As Laozi noted, “One who knows does not speak; one who speaks does not know.” For the dancer, the movement is the speech of the body, but the intent is the silence of the mind.
In the opening sequence of Bestowing the Tao, the choreography demands the symbolic inscription of the Daodejing onto bamboo scrolls within four eight-beats. To merely mime the action would be hollow. The performer must visualize the characters manifesting on the blank bamboo:
“Man follows the Way of Earth; Earth follows the Way of Heaven; Heaven models the Way of Tao; Tao models the Way of nature.”
This internal visualization charges the movement with intent, transforming a simple gesture into an act of creation. When the scroll is opened, the hesitation is not just a pause in the music, but a contemplation of the ineffable: “Mystery within mystery; the door to all marvels.”
Choreographing the Void
The narrative arc of the dance reflects the tension between the worldly and the divine. As the sage completes his text, the stage serves as a mirror: the heavens open, and immortals descend, offering a visual manifestation of the beauty described in the scrolls. This is the essence of Shen Yun-“the beauty of divine beings dancing.”
The conflict arises from the material world’s desire to possess wisdom rather than understand it. A corrupt official, driven by greed, attempts to seize the scrolls, offering wealth and women. The choreography here highlights the contrast between the heavy, frantic energy of desire and the unhurried, substantial weight of the sage. As the text suggests, “He who tries to possess shall lose.”
The journey concludes at Hangu Pass, the western gate. Here, history meets stagecraft through the character of Yin Xi, the valiant guard (portrayed by Principal Dancer Rocky Liao). The arrival of the sage is heralded not by fanfare, but by a “purple glow”-a visual motif representing the auspicious energy of the Tao.
The confrontation at the pass is swift. The official and his henchmen are repelled, but not before wounding Yin Xi. In a moment of quiet power, Laozi utilizes the gourd-a classic symbol of Taoist alchemy-to heal the guard with a drop of elixir. The passing of the scrolls to Yin Xi marks the completion of a mission. The sage rides his ox into the sunset, vanishing into the unknown, leaving the “Way” behind for those capable of carrying it.
Echoes in the Ether
The philosophy of Laozi, while rooted in ancient China, shares a resonant frequency with modern Western mythology. The parallels between the Tao and the “Force” of the Star Wars saga are striking, a testament to George Lucas’s study of Eastern thought.
Obi-Wan Kenobi’s description of the Force as an energy field that “binds the galaxy together” echoes Laozi’s description of the Tao: “There is something that is perfect in its disorder… It is regarded as the Mother of all beings.”
Whether in the robes of a Jedi or the gown of a Taoist master, the archetype remains: a figure who understands that the physical world is merely a ripple on the surface of a deeper energy.
The Physical as the Carrier
The I Ching (Book of Changes) posits that “That which is metaphysical in form is the Tao. That which is physical is only its carrier.”
This philosophy offers a profound lens through which to view classical Chinese dance. The body of the dancer is the vessel; the bamboo strips are the vessel for the Daodejing; the stage itself is the vessel for the performance. But the content-the Tao-is formless.
By embodying the “Old Master,” the artist does not merely recount a historical event. They participate in a transmission. Two and a half millennia after Laozi rode west, the stage becomes the new Hangu Pass, and the audience, like Yin Xi, waits to receive the scroll.
