How I Enjoyed the Peony Pavilion!

FEATURE How I Enjoyed The Peony Pavilion! By Chia-Hui Shih I enjoyed the performance of The Peony Pavilion so much that I wrote of my experiences with the show in two parts: first my overall impression as a layman and then my appreciation of the performance on each of the three days that the show lasted. Part I: A Layman’s Experience On September 22 to 24, I watched The Peony Pavilion at the Barclay Theater in Irvine, Calif. It was presented by a Chinese Kunqu opera company from Suzhou, Jiangsu Province. Tang Xian Zu (the Ming Dynasty, 1550- 1616) wrote the libretti, originally consisting of 55 acts. I have never seen a Kunqu production, nor even heard any recital of Kunqu. My closer encounter with the play came some twenty years The melodies (if they could be called ago when I read a play written by Bai Xian Yong melodies, more like tones) in Kunqu are quite (the producer of The Peony Pavilion) named different from those in the popular Jingju (Peking “Visiting a Garden, Startled in a Dream”. It was Opera), are more monotonous—at least to the based on one episode of The Peony Pavilion. untrained ears of mine. On the other hand, the non-singing parts, such as the movement of eyes, hands, and arms; walking styles of men and women; and the dialogue were quite similar to those in Jingju. Actually I had expected that the spoken lines would be the dialect of Suzhou, but it turned out to be a mixture of Mandarin and some Jiangsu dialects, including that of Suzhou. Just like in Jingju, the stage design was minimal and abstract; place and scenery were suggested by a few pieces of desk and chairs and through the acting of the actors. However, unlike Jingju in the past, the can still discern the natural background screen was Chinese beauty of Du projected with various Liniang. She was like a abstract designs of broad beauty walking out of a brushworks to imply the Chinese scroll of “Beautiful locales as well as to Woman,” a particular genre enhance the aura of the in Chinese paintings. Her events taking place. singing voice was crisp and Facilitated with modern pure, though on the second lightening and mechanical day, sometimes a little gadgetry, the stage was throaty and dark, but still much more elaborate than a pleasing. Occasionally I truly traditional Chinese was not so comfortable opera stage. The raised when she (or any other ramp along the background singer) sang high notes, as screen from where many the sound was piercing and actors entered and left had a too metallic to my ears. I flowing and aerodynamic guess the microphone had line. Obviously it has a exaggerated the effect. The modern touch. theater is small and has nice acoustics. The first day’s play ended as a tragedy with the In a Chinese love story, death of Du Liniang, the heroine; the second day, the hero is always a fair looking scholar (a white- a high drama of life, death, mystery, suspense, faced litterateur.) He is usually feminine looking resurrection, and the uniting of the lovers; and the with a gentle demureness, even sissy. His singing third day concluded with lots of humor, actions is in the range of soprano, using falsetto. The (acrobats), and a happy ending. If I have time young man who played Liu was strikingly only to attend one day’s performance, I might handsome, tall and slender, quintessential young have chosen the second day. On the other hand, man of the class of literati. Once in a while he the first day contains the most famous story line sang with a low and darker natural voice of good that makes The Peony Pavilion a widely known quality. drama. Concerning the third day, there are at least All the dancing routines were very well two favorable factors: 1. Unlike the Greeks, executed. The dancers, men or women, were of Chinese like to see a happy ending? the so-called, uniform built and height. One could still see some Grand Reunion (Da Tuan Yuan ). 2. The show movements not perfectly aligned, but after all, time happened to be a Sunday matinee, they were not robots. The acrobatics were, as convenient for many out of-towners. No doubt, in expected in any professional Chinese opera, order to enjoy a complete treat, it is best to see all excellent but not overly showy. Battle scenes three days. were concise and precise. All costumes were so The cast was excellent. All the actors are elaborate and superbly designed that they must of first rate. The protagonists, the heroine Du have cost a fortune. Liniang and the hero Liu Mengmei, are played by The English subtitles were obviously two elegant performers who are radiant with done by professionals. The Chinese Qu (a style of youth and energy, making it very believable that Chinese poetic singing, developed in the Yuan this is a love story between a young couple. Even Dynasty) was not always easy to understand. I with the heavy traditional theatric makeup, one had to read the English subtitles right below the Chinese ones from time to time. This made Kunqu watching a very busy task: paying attention to the stage, listening to the singing and the orchestra, and reading the Chinese and the English subtitles. Qu, being used for compare it with Suzhou silk embroidery, theatric plays, in my humble opinions, is not as beautiful, smooth, exquisite, and harmonious. A elegant and as well formed as Shi and Ci. Qu friend asked me, ¨Based on what you said—You could be at times colloquial and even a little are more used to Western music, Kun qu sounds vulgar. monotonous, and the stage is very austere—why The English translation was helpful; in weren’t you bored when watching the show all general, it is smooth, flowing, and often poetic. three days? Well, here is my answer: The Peony But I must say that sometimes I was not Pavilion was exotic and educational; the cast was completely satisfied. For example, translating superb; the movements were lyrical and poetic; it “Shu Sheng” as “student” may not sound right; had a mesmerizing aura; the story had a modern perhaps Élittérateur¡ is more appropriate. I found theme yet surrealistic, thus interesting; and it was it interesting that a refined young woman such as a visual treat. Besides, I appreciated the Liniang referred herself as “An”. I thought that monumental effort that all these people— only the uneducated man-laborers in northern musicians, artists, scholars, and technical staff- China call themselves that. In Peking Opera, a have made to give us a chance to experience this refined woman would refer herself as “Qie or Nu- extravaganza. I felt lucky and privileged to have Jia” , a very humble self-reference. seen it in its entirety, mostly likely, a once-in-a- lifetime experience. I like the orchestra a lot. Western musical instruments, such as cello, violin and perhaps Part II others were used. The West and East seemed to Performance of Three Days have mingled well. Day One - Garden, Dream, Lovesick, and Death The whole production was executed in Synopsis — Du Liniang, a beautiful such a refined and deliberate manner; every step sixteen years old maiden, was brought up by her and positioning seemed to be choreographed. I Confucianist father according to the strict Confucian norms. Her father hired an old fashioned private tutor to teacher her, along with her maid companion Chun Xiang, poetry and literature. One day Chun Xiang found Liniang roaming in the garden behind the study, mesmerized by the charming spring scene. Soon falling asleep, Liniang dreamed in a Peony Pavilion beside a plum tree. She saw a young man with a willow branch (a hint on his name Liu) approach her. They fell in love at first sight. The young man asked her to write a poem. Later they made love under the plum tree. But the fallen The garden scene in springtime was very petals of the plum blossom awakened her. enchanting. It was effectively depicted by projecting the background screen with splashes of From that day on, Liniang fell seriously colors of warm tones. What was painted on the ill, yarning for her dreamed lover. In spite of all screen looked very beautiful and modern, the medical care provided her, she withered away obviously an innovation. day by day. On her last day, she painted a self- portrait, composed the poem requested by her It took everyone’s breath away when the lover, and wrote it on a scroll. Since she did not flower goddesses filed in. Of similar height and know his name, she wrote her poem by reference size, they wore capes embroidered with different to the plum or the willow. She confided in Chun flowers. They moved with tiny and rapid steps, Xiang about her lover and asked her to hide the hidden under their gowns, as if they were sliding portrait under a rock by the pond in the garden. or, as someone said, floating. Their shoulders She asked her mother to bury her under the plum stayed at the same level without wavering, thus tree. Then she died. giving the illusion of a continuous flow. Their dance was also well choreographed. This whole episode is like a poem, filled with passion, yarning, fantasy, and beautiful Lovemaking in Chinese opera can be visual presentation. The overall aura of was normally shown through highly abstract dreamy, romantic, erotic, and surrealistic. There movements.

Load more