Nuo Opera has evolved for centuries by blending local music and dance from all over the country. Provided to China Daily

Nuo performers-like Cheng-were celebrated for their knowledge, and they enjoyed the highest status in the village, Wu adds.

Passed down by family or by troupe, Nuo evolved over thousands of years and spread all over China and neighboring countries such as Japan and Vietnam. Integrating with local customs and developing diversified forms, it borrowed music and percussion accompaniment from other Chinese operas during the Ming (1368-1644) and Qing (1644-1911) dynasties.

In Guizhou's Dejiang, for example, the Han-origin Nuo Opera is now performed by the Tujia people with strong Tujia-flavor singing; the more renowned Dixi Opera in Gui-zhou's Anshun, meanwhile, was actually a branch of the Nuo Opera.

Each of the 23 traditional plays (formerly 24) of Wuyuan Nuo Opera lasts from a few minutes to 20 minutes, Cheng says. They are mainly historic and mythical stories, so that roles range from gods and ancient heroes to animal ghosts. Every main figure has a unique mask.

Although played by men, there are also two female roles in Wuyuan Nuo Opera. The feminine characteristics are indicated by the masks, vocals and gestures, Cheng continues.

Three strict rules are followed by the troupe to this day:

A god-worshiping ceremony must be conducted before using any new stage;

A wooden figure representing the originator of the opera must be carried along wherever the troupe performs;

No props are allowed to be touched by anyone outside the troupe, especially women.