The 1994 CCTV TV series of the same name, adapted from the Chinese classic "Romance of the Three Kingdoms", has been on air for more than 30 years. The series presents a panoramic view of the Three Kingdoms with a magnificent historical narrative, and successfully created many classic characters worthy of being recorded in the annals of screen history. It is a milestone in the development of Chinese TV dramas. It has not only won the 15th National TV Drama "Flying Apsaras Award", the 13th China TV "Golden Eagle Award" and the 4th Spiritual Civilization Construction "Five One Project" Award and many other honors, but also pioneered the industrialization of Chinese TV dramas.
On July 6th, with the rebroadcast of "Romance of the Three Kingdoms" on the "Revisit Classics" channel, the China Television Art Committee invited Mr. Zhang Guangbei, who played Lü Bu in the series, to sit down for an interview. He recounted his portrayal of the character from a personal perspective and shared behind-the-scenes stories from the production, broadcast, and distribution of the work. The numerous creative details revealed in the interview not only reflect the dedication and relentless pursuit of excellence of the older generation of artists, but also highlight the ingenious creative spirit of television artists in the 1990s, who forged classics with unwavering dedication.
This article is the result of interviews for the "Memories of Classic TV Dramas" oral history collection project.
Project Leader: Lin Hui (Oral History Expert, Communication University of China)
Executive Producers for this issue: Lin Hui, Zhang Longzhu, Wei Ke, Cao Qingjiang, Yu Yin, and Liu Da (Communication University of China team)
Interview support: Pan Jie
Planning: Zhao Cong and Li Xuan
▲ Recent photo of Mr. Zhang Guangbei
Please tell us about your audition experience with the "Three Kingdoms" crew.
Zhang Guangbei: Everyone knows "Romance of the Three Kingdoms"; it's incredibly familiar. We grew up reading comic books of it, and even today, it still feels so vivid and lifelike. The artwork is so sophisticated, and the novel itself is incredibly familiar.
When I was filming the movie "A Cluster of Sacred Flame on the Horizon" in Northwest China, director Song Zhao said to me, "Guangbei, I heard that 'Romance of the Three Kingdoms' is going to be filmed on CCTV. As a male actor, it would be a shame if I didn't play it." I said, "I'll give it a try." I positioned myself as Zhou Yu. At that time, I think there wasn't a single actor my age who, even today, has become famous and hasn't tried out for this drama.
After I arrived, the stylist asked, "What style do you want me to be?" I said, "Just make me look like Zhou Yu." After the styling was done, it was very serious. Deputy Minister Wang Feng (then Deputy Minister of the Ministry of Radio, Film and Television), all the screenwriters, directors, producers and production managers, about 30 to 40 people sat at the bottom, and we actors put on our looks and walked up.
After the tryout, before I even took my makeup off, Shen Haofang (a member of the "Romance of the Three Kingdoms" director team) came over and said, "Guangbei, your performance just now was really good. Everyone is very satisfied. They've decided to let you play Zhao Yun." Zhao Yun is not bad, but I was very clear-headed. Zhao Yun is not bad, so I said, "I really don't want to play it. If I had to play Zhao Yun, forget it." He said, "To be honest with you, we don't know when we will shoot the role of Zhou Yu yet. We are not considering the actor for Zhou Yu right now. We are now considering the actor for the first six episodes. You should think about it."
At that moment, Director Cai Xiaoqing came over, looked at me, and said, "You don't want to play Zhao Yun? Who do you want to play?" I said, "I want to play Zhou Yu." "We don't know when we'll shoot Zhou Yu. How about this, why don't you try playing Lü Bu?" I said, "How can I play Lü Bu?" She gave me another look. That's how Director Cai is. I said, "I'll think about it." She said, "Give him the script and tell him to go back and watch the Lü Bu scene."
I thought the role of Lü Bu was quite interesting. So many famous scenes, like "Shooting the Halberd at the Gate," "Phoenix Pavilion," "The Chain of Stratagems," "The Play with Diao Chan," were all in my mind, but I didn't believe I could play it. So sometimes actors don't discover their own potential. I said, "Let's give it a try," and began preparing for the scene with Wang Yun during the "chain of stratagems," where the line "A true man is between heaven and earth..." was played.
In reality, when an actor plays a role, appearance is crucial. When you're feeling unsure, you gradually gain confidence in yourself through appearance in the mirror. I have my makeup artist to thank for this. While he was applying makeup, I'd look in the mirror and wondered how I looked a bit like the Lü Bu from the comic book. So, when someone asked me how I played the role, I said it was easy; I just copied the comic book. But it's actually not that easy; you have to practice riding horses, wielding halberds, and so on. It's all about physical resemblance. Professionally speaking, do you have the character in your mind? Do you have it in your head? If the actor doesn't believe in the image, it's impossible to act. Once the image of Lü Bu formed in my mind, I gradually and subconsciously got it right. Who was my co-star as Wang Yun? It was Shen Haofang. He sat there, a book in hand, wearing glasses, perfectly still, rehearsing his lines. I was constantly following him around.
▲ Still from the TV series "Romance of the Three Kingdoms" (Zhang Guangbei as Lü Bu)
At that time, Mr. Tan Zongyao (the actor who played the role of "Wang Yun" in the play) had not yet decided?
Zhang Guangbei: No, he decided on it later, first deciding on Liu Bei, Guan Yu, Zhang Fei, and Cao Cao. Director Cai later said that when Liu Bei, Guan Yu, Zhang Fei, and Cao Cao stood there, he knew it was a done deal; the atmosphere was right. After I finished, everyone applauded. After the applause, the executive producer, Ren Dahui, came over and said, "Comrade Guangbei, we just had a meeting and everyone unanimously agreed that you're the right person to play Lü Bu."
Please tell us about the creative process after you were confirmed to play the role of "Lü Bu", including your own study and preparation, communication with the director, etc.
Zhang Guangbei : I went from disbelief to belief, from lack of confidence to confidence. It was definitely a process. Immersing myself in the role, believing I was the character, was the most important thing. After the makeup artist styling my look, I felt more and more that I was on target. Another thing I might have missed was that this aspect of me was deep down, so the director's discovery and inspiration were crucial. Director Cai told me at the time, "Guangbei, you've softened." Normally, people would think I'm quite tough with my energy. But Director Cai said, "You're far from perfect as Lü Bu. Lü Bu always has this aura within him, and when he roars, he's like a tiger or a lion. If you don't have that, you can't play Lü Bu. First, you have to address your skinny problem." I was incredibly thin at the time, and I tried many things. Director Cai said, "Give Guangbei more good food. Give him more pig's trotters and pork knuckles. He's too skinny." During filming, I padded my clothes and wore a thick cotton jacket in the summer.
Also, for an actor to achieve inner and outer strength, a strong spirit is crucial, so daily training is essential. I'm an exceptional horse rider. I was already a pro in the 1987 film "The Bandit and the Black Swan." I can ride wild horses, taught by the national team's equestrian coach. In Xinjiang, we rode nomadic horses. So I have a solid foundation. Honestly, I'd say I'm the only actor in "Romance of the Three Kingdoms" who can ride a horse with a raised stance (equestrian terminology refers to a horse supporting its body on its hind legs with its front legs raised, or in a flexibly gaited position with its hind legs deeply planted and its front legs raised). The best horse in the crew is my Red Hare. It's a raised stance, and no one else dares to ride it because they'd fall off. Skill is crucial. We also train for strength. Back then, there were no gyms, so we'd just get a few bricks, an iron rod, or a water pipe tucked between two trees and do pull-ups and push-ups every day. Strength comes from personal practice. Riding with weapons requires a different kind of internal energy.
Although we had some training and a foundation in physical training classes at the drama academy, when it came to the role of Lü Bu, how he wore his robe and how he held his Fang Tian Hua Ji, it was crucial to ensure that the clothes and the objects in his hands were yours. Most importantly, I'm especially grateful to Teacher Xun Hao, Xun Huisheng's eldest grandson and the executive director of our production of "Romance of the Three Kingdoms." He practiced with me throughout the entire production, including the roles of Liu Bei, Guan Yu, and Zhang Fei. We learned from him how to hold the halberd, throw the robe, how to dance with a sword, and how a civil official should act. He incorporated elements from traditional Chinese opera and Peking opera into our production, which was quite meticulous. The first thing we did every morning was practice horseback riding at the base. After practice and lunch, we spent the morning on physical training and the afternoon on study sessions, with lectures given by invited experts from the production team.
How long did it take to prepare like this?
Zhang Guangbei: Three months, and the director and creative team had even longer to prepare. In this environment and atmosphere every day, how could you not be fully prepared for a role? I actually read more than just Luo Guanzhong's "Romance of the Three Kingdoms" about Lü Bu. I also read his unofficial history and opera. For example, why did Lü Bu later develop a beard? The audience often perceives Lü Bu as having a clean face. This is what I learned during my studies. Professor Wang Fulin and others asked, "When did Lü Bu start growing a beard? It started when he was down and out at the White Gate Tower. So, you see, Lü Bu gradually becomes haggard." I was very handsome when I first appeared, but by the end, I became increasingly haggard and ruined. This mental journey requires constant learning and exploration to master each scene.
After you believed in your own image, how did you understand the character's fate and development? How did you understand the complexity of the character "Lü Bu"?
Zhang Guangbei: I think Lü Bu is a tragic figure. After watching the play, the audience should reflect on why Lü Bu met such a fate. "Romance of the Three Kingdoms" is a profound work. Luo Guanzhong's portrayal of Lü Bu's character is justified and serves as a warning to readers. Why were others able to succeed while he couldn't? He was the world's greatest martial artist, yet ultimately met such a fate. First, you need to understand what the author wanted to portray after writing this character. As an actor, you must understand that success and failure are both his and hers. What's most important for an actor to be believable in their role? The soul behind the actor. If a play can reflect a period of history through a single character, and we can understand the context behind this historical development, then it's even greater and more remarkable. Therefore, when portraying a character, actors should consider the character's background. Profundity and depth are what we mean by this, not just superficial "flirting" like Lü Bu flirting with Diao Chan.
How was the difficult fight scene of “Three Heroes vs. Lu Bu” filmed?
Zhang Guangbei: Do you know how many days it took to shoot "Three Heroes vs. Lü Bu"? Two takes, 14 days total. Back then, there were no body doubles. I didn't even realize my fingernail was gone. When I walked into the house for lunch, I was covered in blood. "Ouch! Where did my fingernail go?" Lü Bu's joyous Red Hare was unleashed. I had to rise dozens of times, in different positions, at different angles of the sun. Eventually, the horse gave out and couldn't stand. That's how I got through it. I remember Director Cai saying to me, "Guangbei, you deserve all the hard work you've endured. Look at how many people worked for you to portray you as Lü Bu: extras, costumes, props, and camera work—all to capture that dashing Lü Bu emerging from Hulao Pass, flinging his cape with a 'pop'." So the actors are only there on the surface, but behind the scenes, it's the dedication and hard work of countless people.
▲ A clip from the TV series "Romance of the Three Kingdoms" where the three heroes fight Lü Bu
Director Cai’s communication is very artistic.
Zhang Guangbei: Director Cai is a bit arrogant, but I performed well. I am the leader of the actor group and have a good relationship with Director Cai. We have many stories between us.
When we were about to film "Phoenix Pavilion," Director Cai got mad at me and said, "You, Hong Yuzhou, and Bao Guoan go out to dinner every night to improve your lives. Why don't you take Chen Hong with you?" I said, "We're all men." She said, "Don't let her stay in the house all the time. You're acting with people, but you don't want to build relationships with them?" She was really criticizing me. So later, Chen Hong always went to dinner, so I took her with me. He was always scolding me during the filming. Director Cai didn't scold her, but he kept saying I wasn't "sexy." In the end, I was completely overwhelmed by the acting. "No, let's do it tomorrow! This is all wrong. What kind of acting are you? You're a veteran actor, what are you talking about!" Director Cai was completely bullying me.
When I caught the Fang Tian Hua Ji, I did it with my back to the camera. And they asked me to do it for real. What if it hit the back of my head? I was resistant at the time. But now I think it's a little tricky, because there are so many ways to present it, especially with modern ideas. It was just "clumsy" back then, you know? "Three Heroes vs. Lü Bu" was a real fight. It was just me on horseback, no body double. Everything was real. I just grabbed the spotlight, and if I couldn't, I'd do it again. People have their limits, and you get impatient as you go along.
I think the only regret about "Romance of the Three Kingdoms" is the limited use of techniques. Back then, there weren't the new media technologies of today. It was all practical, with a few wire harnesses at most, but it was very minimal, and yet it still managed to be filmed like this. Afterward, some people said, "Romance of the Three Kingdoms is crude." I said, "What do you mean crude? Try it in this kind of environment. Will the horse obey you? It's really falling. That's not like using computer special effects. Try it yourself." Many actors broke their arms and legs during the filming process, and ultimately didn't make it. We must remember these actors. It's thanks to the perseverance of so many people that "Romance of the Three Kingdoms" has become what it is today. I believe that "Romance of the Three Kingdoms" will forever be preserved and passed down in the history of Chinese television.
▲ Still from the TV series "Romance of the Three Kingdoms" (Li Po as Dong Zhuo)
There are many classic scenes in the play "Lu Bu". In previous interviews, we talked more about your rivalry with Mr. Bao Guoan and Ms. Chen Hong. Please tell us about your collaboration with Mr. Li Po (the actor who played "Dong Zhuo").
Zhang Guangbei: Mr. Lipo is a senior figure we deeply respect. I saw his film "The Hui Muslim Detachment" when I was a kid. In real life, Mr. Lipo was a very amiable person. For example, he often visited the kitchen. The food was poor, but he loved it and would help with things like making buns and fillings. He was a great artist, having grown up in the military. While he might seem carefree, he was actually quite attentive and had a very close relationship with us.
He was quite old. I remember every time he acted, he had to get in a car. That car was incredibly unsafe and could flip over at any moment, but he always went in without a second thought, without a single complaint. He'd wander into any room every day and rehearse his lines with whoever he had a scene with, without saying anything else. What's the current state of actors? None of us actors in "Romance of the Three Kingdoms" brought a script to the set; we memorized everything. "Romance of the Three Kingdoms" is written in semi-classical Chinese. Every word "de," "di," and "de" couldn't be wrong. If you added an extra "de," it was a no-no, you had to start over. Director Cai was especially strict, forcing Mr. Li Po to rehearse his lines with everyone he met. Do you think he couldn't play Dong Zhuo well? He worked incredibly hard. I think Mr. Li Po put his life into acting. They embody the reverence this generation of filmmakers has for their craft, and we've learned a lot from them. Winters were cold, summers were hot. Back then, conditions weren't as good as they are today. The sets were all built in factories, and the paint fumes were unbearable. Mr. Li Po had a hard time.
It was the joint efforts of both the front and back of the stage that created such a classic.
Zhang Guangbei: I also want to express special gratitude to this generation of television drama producers. Later, in an article I wrote about "Romance of the Three Kingdoms," I included a paragraph criticizing our chief producer, Ren Dahui, for being unkind; Hao Hengmin, the production director, for being unkind; Shan Yusheng, the production director, for being unkind; and You Shijun, the production director, for being too slick. I wrote this, but it was thanks to them that "Romance of the Three Kingdoms" was able to maintain its long-term success. I wrote about this: Was "Romance of the Three Kingdoms" made for money? Or for righteousness? The entire crew of 16 people received first-class labor service: Wang Fulin, Ren Dahui, the chief director and producer, four production directors, and 12 main actors. We earned 250 yuan per episode, but after years of filming, we only earned a few thousand yuan, and we still had to pay taxes. So, I say, it was all about righteousness—the righteousness of "Romance of the Three Kingdoms."
This play is particularly memorable. Many of the people involved are no longer alive. It brought together the finest directors, producers (then called production directors), art designers, and costume and prop artists from the Chinese film and television industries of the time. It also used the best equipment of the time. It went through immense hardships, with directors like Wang Fulin and Cai Xiaoqing giving their all. Our recollection of "Romance of the Three Kingdoms" serves as a record, a retrospective, and a commemoration of their contributions.
For a good work to survive, firstly, it has a strong literary foundation, which is crucial; secondly, it has strong determination. The crew gathered a group of artists, and it was their persistence that made this play a success. Think about "Liu Guan Zhang" (Liu Guan Zhang), Lu Shuming passed away, Li Jingfei also passed away... They made a few plays in their lifetime, but this one is enough.
As a creator, what milestone significance do you think the work "Romance of the Three Kingdoms" has?
Zhang Guangbei: "Romance of the Three Kingdoms" achieved many firsts in the history of Chinese television dramas. It had the largest cast—all our extras were former soldiers; it had the most props, and the most powerful crew; and it was also the largest-invested TV series in China at the time, with over 100 million yuan invested. At the time, the concept of film and television bases didn't exist in China; it was only with "Romance of the Three Kingdoms" that the idea of establishing them became a reality. Crucially, it also fostered an industry chain, with people who used to herd horses eventually becoming jockeys... Through "Romance of the Three Kingdoms," we can see the achievements of China's reform and opening up.
It was "Romance of the Three Kingdoms" that spurred the Chinese TV drama industry. Through it, people learned that TV dramas could sell, and everyone rushed to buy them. Thais were eager to buy them, offering exorbitant prices and shockingly high prices. When we visited Thailand as a group, the Thai royal prince received us and treated all of us as honored guests. He even recognized us in suits, and he recognized everyone. He said he had been reading "Romance of the Three Kingdoms" since he was a child, and it was filled with so many touching stories. When we visited Thailand, Japan, and Malaysia, people lined up for autographs. It's safe to say that "Romance of the Three Kingdoms" spurred the development of the cultural industry, transforming culture into productive capacity.
▲ In June 1994, the crew of "Romance of the Three Kingdoms" visited Thailand and took photos
Was that also the time when Chinese TV dramas were just beginning to explore industrialization?
Zhang Guangbei: As a starting point, "Romance of the Three Kingdoms" is more than just a play; it also embodies the development of Chinese television. I believe this is its contribution. Of course, as a creator, it's impossible to create such a work without passion, dedication, and effort. That's why we say we can't be impulsive in our creations. We always say that literary and artistic creation must reach peaks and plateaus. We must work diligently, be willing to give it our all, and work diligently.
I remember very clearly the first broadcast of "Romance of the Three Kingdoms." It wasn't the entire show; it was two episodes aired in one evening after the 1994 Spring Festival Gala. The announcement of which episodes would be shown was made after midnight. I was a beneficiary, as I had a large role in the first few episodes. The audience waited until morning. From central government officials to ordinary citizens, on the streets and alleys, the only topic of conversation was "Romance of the Three Kingdoms." Whenever I went out, everyone would ask, "Oh, that's Lü Bu!" Actors are most moved. Overnight, I became the nation's focus. So, as an actor, I always say that it's a blessing for us actors to have the opportunity to play a role in "Romance of the Three Kingdoms" in our artistic careers. I owe this to our ancestors and the decisive decision of the then CCTV leadership.
Many of the works you have participated in have won the "Flying Apsaras Award". Please talk about your most impressive "Flying Apsaras memory".
Zhang Guangbei: My "Flying Apsaras" memories began with "Romance of the Three Kingdoms." Several subsequent dramas, such as "Judge Pan Huozhong" and "Little Dunzi," have also won awards. I believe the "Flying Apsaras Award" is crucial to the development of Chinese television. From Jinshan to Ruan Ruolin, and including the persistence of the China Television Art Committee in each term, it has been crucial in driving the growth and development of our television industry. I believe that uniting television professionals, fostering progress, mutual learning, and exchange has played a significant role in promoting the development of Chinese television. If we persevere, we will see continued success, and it serves as a guiding principle for those of us in the field.
How do you understand the social responsibility of literary and artistic creators?
Zhang Guangbei: We always say that an artist's work must be closely aligned with the times, pulsating with the pulse of the times, and serving the people. We must deeply understand the audience's joys, sorrows, anger, and pursuits. How can we resonate with our audience? This is something we artists must consider. There's also the issue of values. Artists have a responsibility. The quality of their values and aesthetics directly impacts the quality of their work, and every work must be closely aligned with the needs of the current era.
"Romance of the Three Kingdoms" is a historical drama, and our work must be interpreted from today's perspective. We must have dreams. Without dreams, perspectives, and faith, can we create something truly good? We simply cannot. Therefore, we must closely align ourselves with the development of the times and resonate with the people. This is the foundation of our work's success. Furthermore, the artist's love for life, their people, and their motherland is the source of their audience's empathy.
postscript
The oral history interview with Professor Zhang Guangbei officially began on June 11th. During the preparation phase, we happened to notice in the materials that this date was his birthday, so we specially prepared flowers in advance. However, when we mentioned this during the interview, he smiled and corrected himself: the online date was wrong, and his birthday was on a different date. This "corrected" video, filled with laughter, became a special reward from the interview.
Zhang Guangbei's portrayal of Lü Bu in the 1994 adaptation of Romance of the Three Kingdoms is undoubtedly a defining moment in his career. He captured this complex character, a blend of bravery and arrogance, deep affection and cunning, with exquisite precision and soul. His commanding presence at Hulao Pass, the lingering entanglement at Fengyi Pavilion, and the sorrowful resignation of his death at Baimen Tower have all become indelible moments in the audience's minds. This role, like a vivid symbol, not only cemented Zhang Guangbei's name but also served as a bond between him and his audiences spanning three decades. Behind the scenes, Zhang Guangbei's memories of the production focus on the collaboration between the main creative team, the collective effort put into the production, and a reflection on the television production landscape of the 1990s.
A landmark work in Chinese television history, the success of the 1994 version of "Romance of the Three Kingdoms" is inseparable from the dedication of countless creators both on and off the stage. To more fully reconstruct the birth of this classic, our oral history project continues to explore diverse perspectives: in addition to interviewing the actors, we are also conducting interviews with key creative personnel, including director Cai Xiaoqing and producer Ren Dahui. These accounts, from various roles, are gradually piecing together the creative secrets of this epic masterpiece within the context of its time, further clarifying the contemporary value of "Romance of the Three Kingdoms" through this diverse narrative.
Proofread by Xie Shuanghong
Produced by Li Minghao and Zhang Jingxue
