How could the two main roles but break the mold of Peking opera characters too? Wu Hsing-kuo's Macbeth progresses from a military commander to a king, and finally to a raving madman, requiring a blend of three separate character repertoires in Peking opera.
「我知道這需要時間去克服，可是既已踏出這一步，就不能再回頭」，他說得斬釘截鐵。兩位主角何嘗不也是打破了國劇的人物模式？