Olivia Yan puts her own take on an old Chinese classic

OLIVIA YAN WING-PUI'S eyes shine with admiration when she talks about Lu Xun. Works by the Chinese writer, often referred to as the nation's conscience, are thought provoking reads and inspired Yan to write a touring play.

The drama, which premiered in 2011 at the Chinese Theatre Festival in Singapore before taking the stage at Taipei's Zhongshan Hall last year, serves as a follow-up to Lu's 1921 episodic novella, It picks up the story after Ah Q, the novella's dim-witted yet self-deceptive protagonist, has been executed for theft and revolves around villagers and the developments that take place where he lived. "I really like Lu Xun. He's very different from the rest of the writers from the May Fourth Movement era," says Yan. "He's piquant and direct in pointing out societal injustices, yet he uses beautiful language that is almost poetic. I am impressed by how much he cares for society. His passion is enviable," says Yan, founder of the local O Theatre Workshop.

" , in particular, features vivid characters, and Ah Q symbolises all the greatest flaws of the Chinese - naivety, stupidity and selfishness. However, in a way, the villagers are more Ah Q than he is. I use them to cross-reference our society nowadays, which is even worse, and almost evil, in my opinion."

Yan makes use of elements from Chinese opera, which is something she's always been interested in due to her mother's operatic background, and all the characters have a white patch around their nose, giving them a clown-like appearance.

"It has two layers to it: it denotes that these characters are for you to laugh at, because of their stupidity and naivety, and as 'clown' is pronounced the same as 'ugly' in Chinese, it symbolises how I'd like you to look at this bunch of people," Yan says.

Another element that Yan has borrowed from Chinese opera is the simplicity of the set. Along with a scant number of props, this challenges the actors and gives the audience an opportunity to to use their imagination.

However, this is in stark contrast to the two roles played by actress Cecilia Ng Kit-yan that accentuate Yan's message. Playing a new character added since the 2011 premiere - an old woman who is constantly confused and ponders over the changing landscape of the village - Ng represents those who are struggling to recall the lost values and history that the village was built on. She is the only Cantonese-speaking character in the play and this represents her inability to integrate into society as others are eager to move forward.