Also known as hat boi or classical theatre, Tuong has existed since the late 12th century, when, thanks to a Chinese opera performer taken prisoner by the Vietnamese, traditional Vietnamese performers adopted traditional Chinese techniques to create a new art form.

Tuong performances are highly stylised and symbolic and thus rely on the imagination of the audience. The stage is very sparse and settings are suggested rather than portrayed. For example, a fight between two actors is used to represent a battle involving thousands of soldiers; an actor brandishing a whip is sufficient to convey the image of a man on horseback; and an actor using an oar suggests that the scene is taking place at sea or on a river.

Make-up is also important. Tuong actors are heavily made-up with stock faces, and knowledgeable audiences can immediately identify a character’s personality or social class simply by looking at their make-up. For example, a black, curly beard means the character is fierce and aggressive; a dragon’s beard suggests a king or nobleman; a fox’s or goat’s beard signifies cunning or dishonesty; and a hairless face means the character is a student.

There are several varieties of Tuong – as well as regional differences between the north, the centre and the south of Vietnam, the genre can also be divided into tuong chinh (more traditional, academic tuong) and tuong do (“folk” tuong – more comical and satirical).

Although tuong is an ancient art form, new stories with more contemporary themes (such as the struggle for national independence) continue to be added to the repertoire to ensure that it remains relevant and popular with the Vietnamese people.