As one of the major genres of Chinese opera, Jingju (Peking Opera) migrated to Taiwan in 1949 and became a key form of traditional performing art. Yet amid political change and shifting cultural consciousness, its identity required redefinition—it symbolized “Chinese culture” while adapting to local demands for cultural recognition. GuoGuang Opera Company, the only national Jingju troupe in Taiwan, has since undertaken a dual mission of preservation and transformation, developing works that resonate with Taiwanese audiences and articulate a localized theatrical vision. Within this context, Jing Wei: Feathers Against the Tides (2023) extends GuoGuang’s exploration of new Chinese opera forms, fusing Jingju, contemporary dance, and poetic narration to reinterpret the life and lyricism of Wang Jing-wei—a controversial figure oscillating between “patriot” and “traitor.” By invoking the myth of the “Jingwei bird filling the sea,” the production transforms historical judgment into cultural metaphor, reflecting the fluid identity of Taiwanese Jingju as it negotiates between tradition and modernity. Musically, the work blends re-composed Kunqu (traditional Kun-style vocalism) passages, electronic soundscapes, and traditional qupai (“fixed melodic patterns”), creating a polyphonic field oscillating between nostalgia and tension. Its choreographic design merges stylized gestures with contemporary movement, forming an embodied aesthetic of extension and release. Situated within what Daphne P. Lei defines as “alternative Chinese opera,” Jing Wei exemplifies an experimental form that transcends national and aesthetic boundaries, transforming Jingju’s expressive logic into a space of emotional memory and historical dialogue.