HONG KONG, June 3 (Xinhua) -- "The greatest
contribution of The Youth Version of The Peony Pavilion, which will leave an
important chapter in the history of Kunqu Opera, is to have won back young
audience," acclaimed Kunqu artist Wang Shiyu.
The Youth Version of The Peony
Pavilion, a production of SuzhouKunqu Opera Theater of Jiangsu, will be on stage
for a nine-hour performance over three days from June 5 to 7 at Hong Kong
Cultural Center. As the general director of the play, Wang shared his conception
and experience with local fans Friday evening.
Regarded as "the mother of all operas", Kunqu has a
long history of over 500 years and is one of China's extant oldest dramatic
forms. It was listed as one of the 19 inaugural " Masterpieces of Oral and
Intangible Heritage of Humanity" by UNESCO in 2001.
However, it is in danger of being phased out because
the artists are aging, so is their audience. In order to attract young audience,
Wang hoped to meld ancient and 21st-century aesthetics in producing a Youth
Version of the best-known Kunqu classic – The Peony Pavilion.
"The first work we have to do is to produce a concise
script from the original one which consists of 55 highlights and would last 10
whole days and nights to perform. It is obviously impossible for contemporary
people living in a speeded life to enjoy the complete set," Wang said.
The concision is largely based on one word - Love.
The Peony Pavilion, as Wang regarded, is essentially a eulogy on love - the
leading roles in the play Liu Mengmei and Du Liniang die for love and are reborn
for love, leaving a most romantic story in the Chinese literature just like
Romeo and Juliet in the British drama history.
By cutting out all else, Wang kept every plot related
to the two leading roles while producing the script. There comes the present
version which consists of three parts and lasts nine-hour performance.
"The length is acceptable, and of course maintains
all classic highlights," Wang said.
Another keynote for the Youth Version is "beauty".
"From lightening, costume to stage design, we did our utmost to make it
beautiful. In other words, we clothe a traditional opera in a modern garb," Wang
said. As for the leading actor and actress, they were chosen as if from a
"beauty competition". Even mass performers should be beautiful and similar in
height.
"In the old days, people enjoyed opera with ears, but
now they will keep their eyes wide open because every scene of the Youth Version
is an aesthetic enjoyment," Wang said.
The Youth Version also made some adjustments in
character building. Taking Liu Mengmei as an example. Unlike an
over-sentimental, introversive gentleman in the traditional play, Liu in the
Youth Version is more open and unconventional, which adapts better to the
contemporary taste.
"The original version is predominated by the
performance of Du Liniang with Liu as a supporting role. We add more performance
for Liu in the Youth Version so that the story appears more balanced and vivid,"
Wang said.
Since premiering in Taipei at the end of April 2004,
The Youth Version of The Peony Pavilion, which was produced by internationally
acclaimed Taiwan writer Pai Hsien-yung, has played to full houses in Hong Kong,
Macao, Suzhou, Hangzhou, Beijing, Tianjin and Foshan. Over the past two years,
nearly all its 72 performances were sell-outs. Feedback, especially from the
younger audience, is overwhelming.
"To let Kunqu live on, it is not a task exclusive for
performers. We also need audience of new generation. An art is no promising
without younger audience. The Youth Version has caused a sensation in the
youngsters, which is our greatest success," Wang said. Enditem
