Cal Performances Presents

Friday, September , , pm Saturday, September , , pm Sunday, September , , pm Zellerbach Hall Th e Peony Pavilion Th e Young Lovers’ Edition United States Premiere © Hsu Pei-Hung Suzhou Kun Th eatre of , Starring Yu Jiu-Lin and Shen Fengying Kenneth Pai, writer & producer Shiyu, artistic & production director

Th e University of California tour of Th e Peony Pavilion is sponsored by Trend Micro Education Foundation, the Richard Liu Foundation Limited, Performing Arts Foundation, and the Institute of East Asian Studies, the Center for Chinese Studies, the Berkeley China Initiative and the Consortium for the Arts at UC Berkeley.

Cal Performances’ – season is sponsored by Wells Fargo.

CAL PERFORMANCES 1 Program © Hsu Pei-Hung

Book I: Th e Dream of Love Friday, September , , pm Book II: Romance and Resurrection Saturday, September , , pm Book III: Reunion and Triumph Sunday, September , , pm

Cast Th e young scholar, Liu Mengmei Yu Jiuling Th e young woman, Shen Fengying Th e priestess, Sister Stone Tao Hongzhen Th e tutor, Chen Zui-Liang Shen Zhiming Th e old gardener, Hunchback Guo Lu Fuhai Du Liniang’s father, prime minster Du Bao Qu Binbin Du Liniang’s mother, Madam Zhen Chen Lingling Th e maid, Chunxiang Shen Guofang Th e Infernal Judge Tang Rong Th e rebel duchess, Lady Yang Lu Jia Th e Emperor of Song Zhou Xuefeng Th e Envoy of Jin Fang Jianguo

Running time for each Book is approximately three hours with a -minute intermission.

2 CAL PERFORMANCES Cast Th e Peony Pavilion Th e Young Lovers’ Edition Suzhou Kun Opera Th eatre of Jiangsu, China

Creative Team

Original Work , the General Producer/Artistic Supervisor Pai Hsien-yung† General Producer Xu Guoqiang, Zhou Xiangqun Producer Gao Fumin Producer Cai Shaohua, Fan Man-nong† Adaptation Pai Hsien-hung†, Hua Wei†, Shuxiang†, Xin Yiyun† Artistic Director Wang Shiyu, Production Director Wang Shiyu Music Direction, Design, Arrangement and Orchestration Zhou Youliang Director Weng Guosheng Art Director Wang Tung† Costume Design Wang Tung†, Tseng Yung-ni† Planning Lu Fuhai Directorial Assistant Ma Peiling Singing and Diction Director Zhou Qin, Yao Jikun, Mao Weizhi Set Design Wang Mengchao† Lighting Design Wong Chooyean† Choreography Wu Sujun†, Ma Peiling Calligraphy Tung Yang-tzu† Graphic Art Hsi Sung† Original Script and Design for Promotional Literature Pan Qiru† Photography Hsu Pei-hung† Stage Manager Wang Yaochong†, Li Qiang Consultants Koo Siu-sun‡, Zheng Peikai‡, Zhou Qin English of Surtitles Lindy Li Mark

† Creative Team members from Taiwan ‡ Creative Team members from

Support Team

Troupe Leader Cai Shaohua Supporting Unit People’s Government of Suzhou City

CAL PERFORMANCES 3 Cast

Players

Du Linaing Shen Fengying Liu Mengmei Yu Jiulin Spring Fragrance Shen Guofang Sister Stone Tao Hongzhen Chen Zuiliang Shen Zhiming Du Bao Qu Binbin Dame Du Chen Lingling Judge Hu, Li Quan, Flower Spirit Tang Rong Duchess Yang, Flower Spirit Lu Jia Hunchback, Interpreter, Boatman Lu Fuhai Jin Emperor Wan Yanliang, Barbarian Envoy Fang Jiangguo Miao Shunbin Liu Chunlin Garden Boy, Wine Shopkeeper Zhou Xuefeng Emperor, Tong Xianzu Zhou Xuefeng, Cao Jian Flower Spirits, Young Nuns, Maids-in-Waiting Du Dongyan, Gu Weiying, Dong Xin, Shao Ting, Xu Chao, Miao Dan, Chen Yanyi, Jin Lin, Zhou Jingyue, Zhou Xiaoyue, Chen Xiaorong, Shen Wen, Zhou Ying Ghosts, Attendants Yang Yunchao, Wu Haitao, Wang Chao, Liu Chengguang, Liu Chunlin, Xu Dongyin, Bas Zhigang, Ye Xing, Liu Yi, Kong Xi, Cao Jian, Weng Xiaocun, Zhi Xueqing, Miao Tao Lead Singer Yang Mei

Musicians Conductor Zhou Youliang Percussion Xin Shilin (Book I, Book II), Zhang Xiaotian (Book III) Transverse Flute Zou Jianliang (Book I, Book III), Fan Xuechao (Book II) Small Gong Liu Changbin Shi Liangyuan Sheng Mouth Organ Yan Lin Bass Mouth Organ Zhou Mingjun Vertical Flute Fan Xuehao, Zou Jianliang Shawm Fan Xuehao, Pang Linchun Pipa Wang Yingying Dulcimer Meng Xianhua Alto Ruan Wei Xiuzi Zheng Zither Zhang Qian Bianzhong Lu Yuangui Gaohu Yao Shenxing Erhu Yang Lei, Yao Shenxing, Zhao Jianan, Cheng Jiaqi Zhonghu Hu Junwei

4 CAL PERFORMANCES Cast

Violin Zhao Jianan Double Bass Pang Linchun Cello Chen Xinyue

Backstage Team Stage Technical Director Su Jianren Scenic Painting Huang Jianda Lighting Ji Maolian, Weng Xiaotao, Zhi Xueqing Follow Spot Zhu Huiying, Xia Xianling Sound Engineer Shi Zuhua Costume Wang Sufang Makeup Design Gu Ling Headdress Zhu Jianhua Props Li Qiang, Xiao Zhonghao Stage Installation Weng Xiaochun Surtitle Operator Ye Chun

CAL PERFORMANCES 5 Synopsis

Scene —Th e Classroom Du Liniang’s personal maid, Chunxiang (“Spring Fragrance”), is her study companion. Th e tu- tor Chen Zuiliang tries to teach the girls the fi rst poem of the Book of Songs, an ancient love poem that Confucian tradition construes as a piece on feminine virtue. When Chunxiang challenges the tutor’s tradition- al interpretation, he becomes thoroughly agitated and befuddled. Chunxiang discovers a large gar- den behind the classroom and tries to entice Du Liniang to explore it with her. Th e tutor, furious, is about to hit Chunxiang when Du Lininang claims the high ground by pretending to discipline the maid herself. Th e two girls put on an act for the benefi t of the teacher, who decides to let matters rest. Th e theme of confl ict between youth and os- sifi ed Confucian orthodoxy continues.

Scene —Interrupted Dream Awakened by warblers in the morning, Du Liniang is dazzled by the signs of spring. She suddenly real- © Hsu Pei-Hung izes she has promised to explore the garden with Chunxiang, who comes to assist her with getting Book I: The Dream of Love dressed. Pleased with herself in the mirror, she de- Scene —Enlightening the Daughter clares that for all her elegant accessories, she likes being natural best. At fi rst, the two girls fl it here Th e scene opens with Du Bao, the governor of and there in the garden like birds out of a cage, Nan’an in the southern part of China, conversing marveling at its sights and sounds. Soon, however, at leisure with his wife, Madame Du. He is think- Du Liniang falls into deep thoughts as Chunxiang ing of engaging a tutor for their only daughter, Du attempts to draw her out. Liniang. If, on top of her feminine virtues, she is able to converse learnedly with her prospective Back in her room, Du Liniang sighs that, at , husband, this will refl ect well on her parents. Du she is wasting yet another spring with no one who Liniang enters with wine, off ering a toast to her truly “knows” her. Th e Flower God enters, escort- parents on this beautiful spring day. She exclaims ing a dream lover for her. Du Liniang and the man, that the birds’ chirping seems to verge on human holding a willow branch signifying spring, back utterance. Instead of being amused, Du Bao scolds into each other. When they turn around, they re- her for taking a nap when she should have been gard each other with astonishment. Th e man asks reading a book. He decides she needs a stern teach- if she might compose a poem for the occasion. Du er to guide her. Liniang inquires shyly how he has managed to fi nd her. Holding her sleeve, he addresses her as “Jiejie” A contrast is made between society’s need for for- (literarily, “older sister” or “respected sister”) and mal order, symbolized by the father, and nature’s confi des that he has been looking her all along. innate rhythms, expressed in the daughter’s urge to Th ey consummate their love in the Peony Pavilion celebrate spring. In this production, the oversized as fl ower fairies arrive to provide them cover. hanging scrolls stand in for furnishings typically found in upper-class homes.

6 CAL PERFORMANCES Synopsis

In what is the most famous erotic poetry in Chi- Scene —Painting a Portrait nese drama, Du Liniang’s sexual arousal is couched With plum blossoms in her hand, Du Liniang in nature imagery, also refl ected in the costumes. sings that the person of her dream is nowhere to be found while she pines away for love. When Scene —Declaration of Ambitions she looks into a mirror that Chunxiang holds up An impoverished scholar, scion of the famous for her, she is startled by her haggard image. She eighth-century prose writer Liu Zongyuan, wakes decides to paint a self-portrait before her beauty up from a dream in which he has an encounter passes away. She pours her whole self into this task, with a beautiful woman under a plum tree. He is which is a celebration of her beauty, a channel for so aff ected by the dream he changes his name to her love, and an act of defi ance against the passage Liu Mengmei (“willow dreams of plum”; his family of time. By painting her own portrait, Du Liniang name means “willow”). boldly affi rms her own existence and the validity of her emotions. Th e playwright suggests that emo- As Liu Mengmei is an orphan, the person closest to tions can be fulfi lled only when acted upon. him is Hunchback Guo, the old family gardener. He announces to Hunchback Guo that he is now Scene —Th e Taoist Nun ready to take the civil service examinations held in Hangzhou. Hunchback Guo supports this de- Th e Taoist Priestess, Stone, enters and confesses cision and starts packing. Th e appearance of Liu matter-of-factly that she is congenitally unable to Mengmei and his sidekick immediately following enjoy sex, her hymen being as hard as stone. She the previous scene conveys the idea that he is not tells a bawdy tale of her wedding night, how she simply Du Liniang’s dream lover, but a real person. left her husband and became a Daoist priestess. Th is cues the audience to suspend their disbelief. In traditional Chinese drama, clothing refl ects Scene —Th e Soul Departs status and character rather than temporary condi- Unpropitiously, rain pours on Mid-Autumn Fes- tions, thus we would not expect to see Liu Meng- tival, a traditional day for family reunion. Raising mei in rags even in poverty. Th e scrolls inscribed her eyes to the moonless sky, Du Liniang feels life with writings by his famous ancestor, in vigorous, ebbing. All she can think of is her dream lover. Re- free-style calligraphy, underscore Liu Mengmei is a covering briefl y, she gives instructions to Chunx- man with a mind of his own. iang to hide her self-portrait under a rock in the garden, and pleads with her mother to bury her Scene —Search for the Dream under the large plum tree. She apologizes for hav- Du Liniang returns to the garden to retrieve traces ing failed her duties as a daughter. of her dream. She fi nds fond memories every- Du Liniang’s soul, receding into darkness, is where. She relives her dream and recalls how she cloaked in red—a hint that she will soon return to was awakened by swirling fl owers. the land of the living. Scene —Th e Traitor Book II: Romance and Resurrection Th e barbarian emperor of the Jin Empire, has con- quered the northern part of China. He orders Li Scene —Hell Quan, a Song general whom he won over by brib- Judge Hu is newly appointed to fi ll a judicial va- ery, to harass the Huaiyang region in preparation cancy in hell. His fi rst task is to dispose of prison- for a Jin invasion of the south. ers who may have entered hell by mistake. When Th is scene anchors the play in the Southern Song Du Liniang is led before him, he is so fl abbergasted dynasty during the th century, when chaotic by her beauty that he leaps high up in the air. He conditions due to political instability rendered cannot quite believe that her death has been caused personal attachments even more precious. by a dream and summons the Flower God to cor-

CAL PERFORMANCES 7 Synopsis roborate her story. After he ascertains that her wonders where her parents and Chunxiang are. crime is only in a dream, and in fact she and Liu Th at everything has changed in such a short time Mengmei are predestined to be married, he orders saddens her. Soon, she hears Liu Mengmei calling her release. out to the woman in the painting, “Jiejie, my dear- est Jiejie!” His voice sends her heart pounding and Th e audience will appreciate the fact that the judge she wishes she had someone who spoke to her that from hell is more scrupulous and humane than way, she did not know then, of course, that the ob- most human judges. ject of his adoration is no other than herself.

Scene —On the Road Scene —Consorting with a Ghost On his way to Hangzhou, the capital city of Liu Mengmei wonders what the woman in the Southern Song, Liu Mengmei is blown about like painting is really like, whether she could ever a dry leaf in a snowstorm. Sick and shelterless for imagine that someone would treasure her portrait. the night, he is grateful to Chen Zuiliang, Du Meanwhile, having watched Liu Mengmei several Liniang’s former tutor, who leads him to the Plum nights, Du Liniang fi nally understands that he is Blossom Shrine and tends his illness. addressing herself in the portrait. She decides to show herself to him. Liu Mengmei is both de- Scene —Reminiscing about the Daughter lighted and scared to see her. Well aware that she cannot reveal herself as a ghost, she makes vague It has now been three years since Du Liniang’s references to living nearby. He shows her the por- death. Her parents and Chunxiang, mourn her in trait and tells her he has once met this woman in a their separate ways. In the intervening years, Du dream. Du Liniang resists identifying herself. In- Bao has been promoted to Pacifi cation Commis- stead, she expresses her admiration for him and of- sioner and transferred from Nan’an to Yangzhou fers to share his pillow every night, should he care in the Huaiyang region, where he is charged with to. He hesitates, but then, is delighted to accept. defending the territory against the Jin incursion. Having buried Du Liniang in the garden accord- “A woman in traditional society can make such ing to her dying wish, they erected a Plum Blossom frank sexual advances only as a ghost.” Shrine in her memory. Chen Zuiliang and Priestess Stone have been asked to watch over the shrine. Scene —Impending Danger over Huaiyang Th e turncoat general Li Quan, ordered to harass Scene—Th e Portrait Recovered the Huaiyang region, relies heavily on his pretty Liu Mengmei regains enough strength to explore wife Yang for strategy. She advises him to lay siege the garden. He fi nds Du Liniang’s self portrait, to Yangzhou to cut off Huiyang’s supply lines be- which he mistakes for the Goddess of Mercy or the fore the attack. Moon Goddess. He reads the poem written on the Instead of portraying these traitors as mean and painting and realizes it is a woman. He is amazed despicable, the playwright endears this lively pair that the poem contains two characters of his own to the audience. Even traitors have love for each name, saying a union will come about by either a other. willow or a plum. He becomes obsessed with the woman in the painting, cooing lovingly to it morn- Scene —Love Vows ing and night, and praying that it comes to life. Priestess Stone’s suspicion of the nightly going-ons in Liu Mengmei’s room puts pressure on Du Lin- Scene —Th e Wandering Soul iang to reveal her true identity. Before she does, Du Liniang’s ghost returns to the garden which, to she wants Liu Mengmei to commit himself to her. her dismay, has gone to seed. Priestess Stone is say- In his arms, she inquires whether he already has a ing a mass for her in the Plum Blossom Shrine. She wife back home. He, too, has many questions for

8 CAL PERFORMANCES Synopsis this strange woman and asks what kind of man she the river to the city of Huaian. In the confusion, he likes. She replies, “A man who loves deeply.” He loses track of Madame Du. He must take leave of assures her he is that kind of man. Finally, Du Lin- his wife and Chunxiang. iang identifi es herself as the woman in the paint- ing, and told him that her father is the governor. Scene —Arrival in Hangzhou She would tell more only if he agrees to marry her. He is delighted but becomes fearful nonetheless Th e newlyweds arrive in Hangzhou where they set upon fi nding out she is a ghost. In the end, love up house by the river and Liu Mengmei studies for conquers his fear. the examination. Th ey also fantasize about the fu- ture. Priestess Stone comes to announce that the Even though lovers go through a process of mutual examination hall is opened. Before Liu Mengmei exploration and self revelation, all commitments hurries off , the newlyweds off er each other a toast. involve a leap of faith. In Du Liniang’s case, how- ever, knowing how trustworthy Liu Mengmei re- Scene —Frustrating the Enemy ally is, whether he loves her enough to overcome his fears, and whether he has the courage to carry Du Bao puts up a strong fi ght against Li Quan. out an utterly unconventional task, is crucial to her When an emissary of the Jin emperor comes on a return to the land of the living. fact-fi nding mission, Li Quan avoids seeing him. Instead, his wife greets the emissary. Th e emissary Scene —Resurrection fl irts with Yang, but she, not speaking his lan- guage, shows off her martial art. Th is leads to a Liu Mengmei manages to convince Priestess Stone fi ght between the two men and the emissary com- at the risk of being charged as a grave robber, to mands Li Quan to conquer Huaian within three help him open the tomb. Under the protection days. While Li Quan and his wife grow anxious of the Flower God, Du Liniang’s soul rejoins her about the ultimatum, they capture Chen Zuiliang, body. Th e fl ower fairies come to pay their tribute. who is on his way to see Du Bao to report that his daughter’s grave has been plundered. Li Quan’s Book III: Reunion and Triumph wife Yang devise a ruse by using Chen Zuiliang as an intermediary to tell Du Bao that his wife has Scene —Wedding been killed, and that he may as well surrender. At Priestess Stone’s suggestion, the newly united However, Du Bao makes a counter-off er by prom- lovers leave Nan’an immediately to avoid gossip. ising Yang a high position in the Song offi cialdom Th ey are married on a boat, bowing once to Heav- and all the gold she wants. He convinces the couple en and Earth, once to their parents from afar, and to surrender instead. once to each other. Du Liniang tells Liu Mengmei Th e bumbling Chen Zuiliang once again becomes, that she is still a virgin. Liu, surprised, asks how unwittingly, an agent for good. that can be possible since they have already been intimate. She replies that what happened when she Scene —Reunion with Mother was a ghost does not taint her real body. Madame Du and Chunxiang arrive in Hangzhou Th e conversation on virginity establishes a demar- as refugees. As night falls, they knock on the door cation between the realm of the living and the of a house to ask for shelter. Du Liniang comes to realm of the dead. Du Liniang returns to her for- the door. Th inking that they have seen her ghost, mer virginal identity. Th us, Tang Xianzu was still they try to appease her with spirit money. Howev- quite conservative about female chastity. er, Madame Du’s maternal instinct overcomes her fear and a joyous reunion ensues. Du Liniang tells Scene —Armies on the Move her mother an expurgated version of past events With the enemies approaching, Du Bao receives and proudly displays a document certifying she is orders to move his troops from Yangzhou across offi cially released from hell.

CAL PERFORMANCES 9 Synopsis

Scene —Stranded at Huaian events. He carries himself with dignity in the face of severe authority. While awaiting examination results, Liu Mengmei risks his life to look for his father-in-law, for his Equally convinced of his rationality that the dead wife’s sake. When he reaches Huaian, the city gate cannot return to life, Du Bao refuses to believe Liu is already locked for the night. Having exhausted Mengmei. his money, he seeks shelter at an inn and tells the innkeeper that he is Commissioner. Du’s son-in- Scene —Th e Emperor’s Verdict law. Th e innkeeper accuses him of being an impos- ter. Liu Mengmei spends the night at a temple and Convinced that Liu Mengmei is demonic, Du Bao goes to pay his respects to Du Bao the next morn- submits a memorial to the emperor to have him ing. He is denied entry to the hall where Du Bao is killed. Meanwhile, Liu Mengmei also submits holding a banquet celebrating his victory. Starving a memorial defending himself. Th e two argue and furious, Liu Mengmei tries to barge his way in, outside the palace gate and Chen Zuiliang, now and is promptly arrested. promoted to Chamberlain for his role in the Li Quan incident, is caught in the middle. Soon, Du Liniang also arrives seeking an audience with the Scene —Searching for the Top Candidate emperor. Confronted by his daughter, Du Bao ac- Unbeknownst to Liu Mengmei, he has placed fi rst cuses her of being a demon. When Madame Du in the civil service exams. Th e imperial guards are arrives to speak on her daughter’s behalf, Du Bao looking all over for him, as a banquet will be held accuses her of being a demon in cahoots with the in his honor. Th ey run into Hunchback Guo who rest, because to his knowledge, she has been killed is also looking for Liu Mengmei. On hearing that in the war. his master placed fi rst at the exams, Hunchback To settle the issue, the emperor orders Du Liniang Guo is so elated that his back straightens out. Th e tested by a magic mirror. Th e mirror confi rms that guards carry him on their shoulders as they con- she is human as it refl ects her form and her shadow. tinue their mission. Furthermore, Du Liniang points to the fact that her feet leave imprints where she walks. At the Scene —Torture emperor’s command, she recounts her story, proud that she has relied on herself to fi nd such an exem- Sitting at court, Du Bao is about to interrogate plary husband. A recalcitrant Du Bao demands to Liu Mengmei. Still oblivious of his own precari- know who were the matchmaker and the guarantor ous situation, he wonders whether his manners are at the wedding, implying that the marriage is not formal enough for his father-in-law. When Du Bao valid since it took place without the parents’ con- learns that his daughter’s self portrait is found in sent. Th e daughter, defi ant, retorts that the funeral Liu Mengmei’s bundle, he is convinced that this star and the sprites of Hell took responsibility for is the grave robber. Liu Mengmei tries reasoning the wedding. Finally, Madame Du intercedes and with Du Bao, but as he talks he sounds more and the emperor personally certifi es that Du Liniang is more improbable and fraudulent. resurrected. Th e lovers are vindicated and fl ower When he gets to the part about resurrecting Du fairies reappear to give their blessings. Liniang, Du Bao is certain the man is a lunatic, For happiness to be complete in the Chinese tradi- and orders him strung up and beaten. Fortunately, tion, it is not enough that the lovers are united, Hunchback Guo hears his master’s voice outside they have to gain acceptance by their respective the gate and comes to the rescue. Th e imperial families, and by society at large. Th e appearance guards are happy they have found the top candi- of the fairies signifi es that the cosmic elements are date but Du Bao refuses to listen to their story. now in harmony. Th e tension in this scene comes from Liu Meng- mei’s fi erce confi dence in himself and his version of

10 CAL PERFORMANCES Program Notes

essentially interprets Th e Peony Pavilion as a work that pays homage to youth, love, and life. Here, I have selected two young and good-looking artists from the Suzhou Kun Opera Th eatre of Jiangsu Province, Yu Jiulin and Shen Fengying, to play the lead roles of Liu Mengmei and Du Liniang. Th ey will enact the opera in a nine-hour performance over three days. As adept in singing as in acting, their portrayal is very close to what the script dic- tates; performing on the same stage will be mostly young actors and actresses of the same age. Th e emphasis on a young cast sprang from our realiza- tion that is in danger of disappearing be- cause its artists are aging and so is their audience. We invited two leading performers and veterans of the genre today, Wang Shiyu and Zhang Jiqing, to take the the young artists playing the lead male and female roles by hand, and teach them their own repertoire. We also provided intensive and stringent training for the other young members of the cast, in hopes that we would not only groom two talented young performers to become brilliant starts, but also through the staging of a full-length opera, we can groom a whole generation of Kunqu

© Hsu Pei-Hung artists. Th e melding of classical and st-century aes- Classical Beauty and Modernity: thetics remains the greatest challenge in producing On Producing the “Young Lovers’ Edition” the “Young Lovers’ Edition” of Th e Peony Pavilion. of The Peony Pavilion How is it possible to develop a -year-old opera for a modern stage, so that it is given a new, youth- Known for its “delicate tones,” Kun Opera origi- ful lease on life? We are guided by the following nated in Kunshan near Suzhou. It has a long his- principles: We respect tradition but do not follow tory of over  years and is one of China’s oldest it unquestionably; we employ what is modern but extant dramatic forms. Regarded as “the mother do not misuse it. In other words, we are clothing a of all ,” Kun Opera (or Kunqu) merges traditional opera in modern garb. Our production literature, music, dance, theatre and art into an adheres to “orthodox” Kunqu styles for singing, exquisite and refi ned art form to a superlative de- acting and recitation, but utilizes modern light- gree. Dedicated writers, composers and performers ing techniques and stage design in such a way that have contributed to its success over the centuries. they would enhance the performance, rather than Its abstract qualities, aesthetic expressiveness, impede it. and poetic lyricism are representative of classical Since its premiere in at the end of April Chinese aesthetics, in which innate simplicity of- , the “Young Lovers’ Edition” of Th e Peony ten belies something more sophisticated and com- Pavilion has played to full houses in Hong Kong, plex. Kunqu was listed as one of the  inaugural , Suzhou, Hangzhou, Beijing, , “Masterpieces of Oral and Intangible Heritage of Shanghai, Tianjin, Shenzhen and Foshan, includ- Humanity” by UNESCO in , representing as ing such prestigious venues as China’s top academ- well a great honor to the Chinese people. ic institutions Beijing University, Beijing Normal Th e present production of Tang Xianzu’s mas- University, Nankai University, , terpiece, subtitled the “Young Lovers’ Edition,” Fudan University, Tongji University,

CAL PERFORMANCES 11 Program Notes

University and Suzhou University, as well as im- man,” they met again as ghost and human lovers. portant universities in Taiwan and Hong Kong. Finally, the young man, overcoming his own fear Over the last two years, nearly all of its  perfor- of ghosts, braving capital punishment for grave mances were sold out. Feedback at the theaters or robbing, exhumed and resuscitated her. Th e tradi- schools, especially from the young audiences, has tional tale was fable-like, short and simple. Tang been overwhelming. Th ough many factors like Xianzu extended it into  scenes, composing over the support of cultural and theatrical circles rest  in poetry, with spoken dialog. His poetic behind its success, undeniably it has been the out- genius rendered this unbelievable tale convincing standing performances of the two young leading today, as it was  years ago, when people really actors which have won the hearts of all. Traditional did believe in ghosts. Be assured, however, the au- and yet modern, their elegant, st-century rendi- dience will not be subjected to all  scenes; only tions have injected a new life into this -year-old half that many. romantic drama, and in so doing, they may have already taken their place as the Romeo and Juliet of the Chinese world. The Music Kenneth Hsien-yung Pai In the mid-th century, a new form of musical dra- ma evolved in the Yangzi River delta region, around The Play the town of Kunshan and the city of Suzhou. Th is genre later acquired its name after Kunshan town Chinese musical drama reached a high point dur- Kunqu (the suffi x -qu is pronounced something ing the Yuan and Ming dynasties (ad – like “chew”) means “songs of Kun.” Kunju (-ju is and –, respectively). When learned men pronounced like “Jew”) means “drama of Kun.” Its wrote plays to express ideas they could not in elegant poetry, melodious arias and refi ned wood- scholarly writings. Th e Peony Pavilion is a drama wind ensemble, combined with pantomime and in song, about love, passion, death and resurrec- dance, swept the Chinese empire during the th tion. It was written during a time when Confucian and th centuries. However, by the mid-th orthodoxy about rationality, moral rectitude and century, Kunqu, or Kun opera, faced competition social propriety was challenged by a new breed from other performing genres, including what is of thinkers, who advocated the primacy of hu- now known as Beijing or , and began man emotions. Among them was the scholar, poet a slow decline. However, Kunqu, valued as much and man of letters, Tang Xianzu (–). His for its dramatic literature as for its musicality, sur- school of thought proposed that love, between par- vived to this day, nurtured by small enclaves of ents and children, husband and wife and, above devotees. Historically, Th e Peony Pavilion may have all, between young women and men, not excluding been set to other musical styles, but it is the Kunqu sexual desire, was the driving force to all human version that has survived the test of time. endeavors. Th is is the central theme of this poetic Traditional Chinese music is primarily melod- drama. Daring for his time, Tang’s portrayal of sex- ic with only incidental “harmony,” or heterophony. ual love, especially in women, shook the Chinese However, when several instruments play together, theatrical world when it was fi rst performed at each with its characteristic embellishments, the the end of the th century (c.–). Since music has a rich linear sound, not the dense har- then, it continues to touch the hearts of genera- monies of Western opera. tions of men and women. Like many dramatists of In Kunqu, singing is supported by the trans- the past, Tang Xianzu used existing tales and leg- verse bamboo fl ute, in unison. Th e fl ute has a thin ends as the scaff old for his philosophy about values membrane covered hole, between the embouchure and the meaning of life. Th e Peony Pavilion, also and the fi rst fi nger stop. Th e membrane vibrates to known as Th e Return of the Soul, was a tale about a produce a bright that blends and resonates pair of young lovers who fi rst met in dreams. After with the singing, such that the audience may not the girl died, despairing of ever fi nding her “dream notice it. Th is accompaniment diff ers from Peking

12 CAL PERFORMANCES Program Notes opera in which the strident two-stringed fi ddle martial or rogue characters, sing in a strident, gut- (jinghu) accompanies the singing, with instru- tural voice. Perhaps like all cultivated vocal styles, mental interludes between phrases. In addition to Kunqu singing is an acquired taste. the fl ute, the vertical fl ute (xiao) or mouth organ Singers must simultaneously execute choreo- (sheng) may accompany the singing. Additional graphed dance movements, amplifi ed by fl owing plucked, bowed and various percussion instru- white silk sleeves that extends two or more feet be- ments make up the ensemble. yond the hands. From walking to pointing, expres- In recent years, under Western infl uence, the sion of the eyes, each movement is stylized accord- Kunqu ensemble has expanded to orchestral pro- ing to traditional notions of beauty and expression. portions with the addition of lower registered in- Men stride in boots with white, four-inch–thick struments such as the cello, the double bass and soles, leap and even turn somersaults in them. even the violin. Arrangers might also employ Women step daintily by placing one foot directly Western musical devices such as counterpoint and in front of the other, sometimes with such speed triadic harmony, to “enrich” the sound. When that they appear to fl oat on air across the stage. applied judiciously, such practices can indeed en- Kunqu demands strenuous training and stamina hance the musical experience. Th e present produc- of performers. ers have wisely preserved the traditional melodies, as sung since the late th century. We are assured of their authenticity because  arias, in its present The Young Lovers’ Edition form, are found in musical notation, in an imperial compendium compiled in the years –. Th e works of playwrights are ever at the mercy of Th e complete score of Th e Peony Pavilion was pre- producers and performers, and other playwrights served in the mid-th century. Th erefore, it is safe who think they can do better. Th e Peony Pavilion to assume that these  arias, if not all, existed well is no exception. Despite its popularity, or perhaps before these dates. because of it, it has been subject to revisions and Kun opera diff ers from Western opera in im- abridgements shortly after its fi rst performance. portant ways. It is dominated by solo arias, and To begin with, the length is daunting. Plays of there is very little choral singing, no multiple part the Ming Dynasty genre run characteristically duets, trios, quartets and the like. Historians have to scores of scenes, but  certainly is the record. proposed that this performance practice evolved Th e present adaptation is one of the latest in a long from chantefable style of storytelling, in which a tradition of excerpted scripts, but it is perhaps the single performer sang and spoke all of the parts. most complete in terms of the story line. In addition, diff erent role types, such as young fe- Bowing to modern theatrical time frames, the males, young males, old males, etc., are diff erenti- adaptors have pared the lengthy original to its logi- ated by vocal timbre, rather than pitch range. Since cal, rich and most melodious core, namely,  epi- the late th century, all roles were largely per- sodes or scenes, grouped into three books. Th ese formed by men; and this might have contributed scenes comprise the most dramatic and moving, to the small diff erences in vocal range. Indeed, the as well as the liveliest and most comic episodes. young male arias frequently have wider and higher English titles have been added to the books which pitch ranges than that of the female. are not original to the play. However, each scene Kunqu melodies are highly ornamented and within the book retains its original title referencing singing them requires fi ne breath control and care- the action therein. ful phrasing. One syllable may be carried over four to six slow beats with numerous melodic turns. Book I: Th e Dream of Love centers on the heroine, Th e vocal style is also quite diff erent from Western Du Liniang, a sheltered, lonely girl of , daugh- art song, and upon fi rst hearing may seem high ter of a stern Confucian father. During a walk in pitched and thin. Th e young male role, especial- the family’s garden with her maid, she is moved by ly, requires skillfully switching between the true the beauty of spring fl owers and laments the pass- voice and . Th e painted face roles, usually ing of her own youthful spring time. Upon return

CAL PERFORMANCES 13 Program Notes she has a dream in which she meets a handsome is buried. Finding Du Liniang’s portrait, he falls in young man. Smitten, but realizing that he was only love with the image, which he carries around and a dream, she pines away. Before she dies, she paints whispers endearments to. a self portrait and instructs her maid to hide it in Du Liniang’s wandering ghost hears him and the garden. She also makes her mother promise to appears to him. After she is convinced that he truly bury her in the garden, under a plum tree. loves her, she reveals that she is a ghost but that she Meanwhile, her father the governor has been can be revived. Braving his own fear of ghosts, and called to defend a distant city attacked by a hen- capital punishment for grave robbing, he opens her pecked bandit leader who surrendered to the en- grave. With the divine protection of fl ower god- emy Tartar king. A shrine dedicated to Du Liniang desses, she comes back to life. is erected in the garden and tended by a nun. Most of the singing and action in Book I is done by the Book III: Reunion and Triumph is the lively reso- young female lead, in melismatic, haunting melo- lution of the love story. Liu Mengmei succeeds as dies. In between are scenes featuring the male lead the First Place Scholar of the realm, but not before and minor characters, such as the Tartar king. he enduring a fl ogging by his father-in-law, the judge, on suspicion of grave robbing. Du Liniang Book II: Romance and Resurrection revolves around is reunited with her parents, but not before her the hero, Liu Mengmei, an impoverished young straightlaced father grudgingly accepts the fact scholar. He dreamt of a beautiful lady standing that love can indeed conquer death. Th e last book under a plum tree who prophesied that only she contains some of the liveliest and most humor- will bring him romance and success in his career. ous episodes in the entire repertoire of Kunqu. Liu travels to the capital to sit for another round of Traditional Chinese theatergoers prefer to go home examinations, but falls ill in a storm. He fi nds shel- happy. You will, too. ter in the shrine in the garden where Du Liniang Lindy Li Mark

14 CAL PERFORMANCES About the Artists

Th e Suzhou Kunqu Opera Th eatre of Jiangsu youth version of Th e Peony Pavilion has been his was formerly known as the Su and Kunqu Opera dream of many years, and he is delighted to see it Troupe of Jiangsu. Established in , it has per- come to life. formed both Kunqu Opera and Su Opera. In the last few decades, it has been active in the southern Cai Shaohua (producer, director), a native of part of Suzhou, Shanghai and Zhejiang. In , Suzhou, began his career in the Suzhou Bureau of the Su and Kunqu Opera Troupe of Jinagsu was Culture in January  and has since served as expanded and renamed the Suzhou Kunqu Opera Head of the Foreign Aff airs Section, Director of Th eatre of Jinagsu. Th e company has groomed the Centre of Literature and Art and Chief of the four generations of performers, numbering over Section of Art. , with Ji, Cheng, Hong and Yang as the middle Since , when he took the post of Director of character of their stages names. It has therefore Suzhou Kunqu Opera Th eatre of Jiangsu, Mr. Cai contributed to the salvaging, upholding and devel- has exerted his eff orts on the artistic and manage- oping of the classical art form. rial dimensions in equal earnest. He has sponsored Th e company’s stock repertory includes Th e the Joint Conference of All-China Kunqu Troupe Peony Pavilion, Th e Story of the White Rabbit, Directors and works as the secretary general of Th e Story of the Wooden Hairpin, Th e Story of the the organization. Th e exchanges and cooperation Hairpin and the Bracelet, Fifteen Strings of Cash, A between the troupes on this broadened basis have Houseful of Lords, Th e Story of the Lute, Th e Palace greatly pushed forward the cause of Kunqu opera. of Eternal Life, Th e Injustice Done to Dou E. and Mr. Cai, deeply committed to the study and  excerpts of the traditional Kunqu Opera reper- performance of Kunqu, has attended many inter- tory. Th e company has made highly successful per- national seminars on Kunqu opera. forming tours to Italy, Japan, Singapore, Taiwan and Hong Kong. Wang Shiyu (production director, artistic direc- tor) An internationally renowned Kunqu artist and former Director of Zhejiang Peking Kunqu Creative Team Opera Arts Th eatre, Wang Shiyu is a National Pai Hsien-yung (general Class One Performer and a recipient of the Th ird producer, artistic director) is Plum Blossom Award for Chinese Th eatre. He an internationally acclaimed was a student of the renowned Kunqu artist Zhou author and founder of Chuanying, specializing in the sheng (young man) Modern Literature magazine. roles, including the subcategories. He is especially His publications include the outstanding in his jinsheng (scholar) roles, which collections of short stories have earned him the reputation of “top artist for Lonely Seventeen, Taipei Kunqu jinsheng roles” at home and abroad. People and Th e New Yorker; the collection of prose writ- Zhang Jiqing (artistic director) is the Honorary ing Suddenly the Past; and Director of Suzhou Kunqu Opera Th eatre of the novel Crystal Boys. Pai has been keenly interest- Jiangsu. A National Class One Performer, win- ed in Kunqu opera since his youth. His short story ner of the First Plum Blossom Award for Chinese “Wandering in the Garden and the Interrupted Th eatre and a performing artist of international Dream” was inspired by the Kunqu opera, Th e acclaim, she was trained under highly venerable Peony Pavilion. His love for Kunqu opera has made artists of the orthodoxy, such as You Caiyun and him a “volunteer” in the promotion of the art form Zeng Changsheng. Her vocal style is a fi ne mix of for more than  years, and he is actively involved strength and soft femininity, her enunciation and in introducing it to the younger generation. He delivery clear and rich. She is very particular where has given public talks in conjunction with Kunqu her art is concerned, and over the decades she has artists of Hong Kong and Taiwan. Producing the created many well-known stage personae. She has

CAL PERFORMANCES 15 About the Artists earned the nickname “Zhang with three dreams” Music (), Th e Game () and Reel Murder because she has made famous three operatic ex- () for Creative Society; and the operas Tosca, cerpts, “Th e Interrupted Dream,” “In Search of a Falstaff and Salute to Taiwan for the Lincoln Center Dream” and “Th e Infatuated Dream.” She has in for the Performing Arts in New York. He has also recent years dedicated herself to training of young created designs for Th e Mikado and Seascape. performers. Mr. Wang is Cloud Gate Dance Th eatre’s Technical Consultant and Resident Set Designer. Wang Tung (art director, costume design) stud- He also serves as the Technical Design Director ied Fine Arts at the National Taiwan University for the Creative Society and teaches in the Th eatre of Arts and Technical Th eatre at the University Department at the Chinese Cultural University. He of Hawaii. He has been working in the Central also serves as the president of Taiwan Association of Motion Picture Corporation of Taiwan since , Th eatre Technology, Taiwan Center of OISTAT. from a technician in the Art Department to head of the studio today. His track record includes  Wong Chooyean (lighting design) graduated from fi lm productions, of which he was director in . the Department of Th eatre Arts, Chinese Culture Th ey include If I Were for Real, Straw Man and Hill University, Taipei. Productions he has lit include of No Return, which won Taiwan’s Golden Horse Journey to the West and Phases Within Four Colors Award for Best , as well as other international by Dance Forum Taipei; Not a Love Story and fi lm awards. @ Dream by Image in Motion Th eatre Company; Time and the Room by Performance Workshop; Zhou Youliang (music director), the Jiangsu Th e Sun, Life and Light, Dream and Silk Road by Suzhou Kunqu Opera Troupe’s resident compos- the Tai Gu Tales Dance Th eatre; Click, My Baby er, is the general editor and arranger of the music and I Want You Before Dawn by Creative Society; for Th e Peony Pavilion: Th e Young Lovers’ Edition. Th e Tempest and SOLO: Experimenting Traditional Mr. Zhou is a national fi rst-class composer who is Chinese Operas by Contemporary Legend Th eatre; Chairman of the Suzhou Musicians’ Association Falstaff of the NSO Opera Series; and and a member of the Musicians’ Association Crouching Tiger, Hidden Dragon: A Multimedia of China. He is an academician of the Chinese Concert; Dancing in the Air and Flowing Water by Nationalities String Music Society. Headspring Th eatre; Aurora by Sun Son Th eatre; Over the last  years, Mr. Zhou has composed and WAHYU, a cross-cultural showcase that was musical works in a multitude of themes and styles. part of the Korea Arts Festival. He has published hundreds of musical pieces in the magazines Music Composition, Songs and Music As a freelance photographer for more than  years, Weekly. His works are also adopted by radio and Pei-Hung Hsu (Johnson) (photography) has television stations ranging from the local level to devoted himself to photography and adventures the national level. around the world. His ability to capture people’s best expressions and verve with his camera refl ects Wang Mengchao (Austin M.C. Wang) (set design) his monumentous encounters with famous artists, holds an MFA in Scenery and Lighting Design musicians, dancers, dramatic artists and sculptors. from the University of Southern California. His With a huge collection of works, Mr. Johnson major scenic designs include Sketch (), Cursive is generous in sharing his experience through many II (), Smoke (), Bamboo Dream (), vocational and public lectures and fi ve individual Moon Water (), Symphony of the Sorrowful exhibitions. For the past two years, he has been act- Songs () and Songs of the Wanderers () for ing as an assigned photographer for the road show Cloud Gate Dance Th eatre; Metamorphosis (), of the famous Kun opera, Th e Peony Pavilion, in One Bed for Four (), I Want You Before Dawn Taiwan, China and Hong Kong. Besides dissemi- (), No Comment (), Family Photo Album, nating his masterpieces about his journeys around Your Madness, Mr. Shakespeare (), Sound of the world via several bestselling publications, he

16 CAL PERFORMANCES off ered his entire valuable image collection of the Shen Guofang is an outstanding young artist per- scenes and character portrayals of the opera to a forming the liudan (vivacious young girl or servant series of publications about Th e Peony Pavilion, girl) roles. Her performances of young maiden published in  and . roles such as Chunxiang in Th e Peony Pavilion and Yunxiang in Th e Story of the Hairpin and the Bracelet are recognized for their sweetness and Performers natural, refreshing charm. Yu Jiulin is a National Class Two Performer. Qu Binbin is an outstanding young artist per- He is an outstand- forming the guansheng (kingly) roles. He became a ing young artist of the formal disciple of the famous Kunqu virtuoso, Cai Suzhou Kunqu Opera Zhengren, in . He plays Du Bao in Th e Peony Th eatre of Jiangsu. He Pavilion: Th e Young Lovers’ Edition, in a break- was trained in the jin- through attempt at portraying a new character role sheng (scholar) roles. He with style and aplomb. He is recognized for his was coached by Wang handsome persona and broad vocal range. Shiyu and Shi Xiaomei, famous Kunqu artists in Chen Lingling is an outstanding young artist the fi eld. His represen- performing the laodan (old woman) roles. She has tative repertoire includes “Finding the Portrait” won a name for herself as the xiao laodan (a young and “Calling Upon the Portrait” from Th e Peony actress adept in playing old woman roles). Despite Pavilion and “Seduction by the Sound of the Lute” her young age, she is able to create personae that and “Stealing the Poem” from Th e Story of the Jade are much older in appearance and with venerable Hairpin. He has won the Performance Award at airs. the First Kunqu Arts Festival in China, and the Gold Award at the Accreditation Showcase for Tao Hongzhen is a National Class One Performer. Young to Middle-aged Performers in Professional She began her training in  and has won many Companies in Suzhou. awards since. She is noted for her performance in zhengdan (middle-aged or high-born woman) roles Shen Fengying is a and liudan (vivacious young girl or servant girl) National Class Two roles. She became a formal disciple of the famous Performer. She is an virtuoso, Zhang Jiqing, in , and has since be- outstanding young come a fi ne exponent of her mentor’s performing artist of the Suzhou style. She has a broad vocal range and is versatile in Kunqu Opera Th eatre of her interpretation of character. She is noted for her Jiangsu. She was trained excellent performance in Th e Obsessed Dream and in the guimendan (high- Th e Injustice Done to Dou E. born lady) roles, and was coached by Liu Jiyan, Tang Rong is an outstanding performer of jing Zhang Jiqing and Wang (painted face) roles. A hardworking, modest Fang, famous Kunqu player, Tang is recognized for his elegant stylized artists in the fi eld. Her representative repertoire movements and solid groundwork. He has made includes Th e Peony Pavilion, A Poem on “Th e Peony impressive appearances in Infernal Judgment and Pavilion” and Catching Sanlang Alive. She has Luhuadang. won the Performance Award at the First Kunqu Arts Festival in China and the Silver Award at the Lu Jia is an outstanding performer of liudan (viva- Accreditation Showcase for Young to Middle-aged cious young girl or servant girl) and wudan (mili- Performers in Professional Companies in Suzhou. tary female) roles. She became a formal disciple of

CAL PERFORMANCES 17 the famous Kunqu virtuoso Liang Guyin in. and excellent control of stylized movements. He A gifted actress capable of performing both civil has made impressive appearances in Abandoning and military roles, she is known for her adapt- the Temples and Meeting in the Catkin Marshes. ability to her assignments. She has won the heart of her audience with her sweet portrayal of young Zhou Xuefeng is a National Class Th ree maidens. Performer. He is an outstanding artist performing the jinsheng (scholar) and guansheng (kingly) roles. Lu Fuhai is a National Class One Performer spe- Coached by Wang Shiyu and famous Kunqu vir- cialized in the chou (comic) and fu () tuoso Cai Zhengren. He is recognized for his hand- roles. He began his training when he joined the some persona and broad vocal range. He has won company in , and was taught by Master Wang the Gold Award at the Accreditation Showcase for Chuansong. He is recognized for being a fi ne ex- Young to Middle-aged Performers in Professional ponent of his mentor’s performing style, and is companies in Suzhou and the Performance Award known for his timing, control, fi ne wit and humor. at the First Kunqu Arts Festival in China. His interpretations of Zhang Sanlang, Lou the Mouse and Han Shizhong are perfectly controlled Fang Jiangguo is a National Class Th ree and convincing. Performer. He is an outstanding artist performing the laosheng (elderly male) roles. Coached by Ni Shen Zhiming is an outstanding middle-aged Chuan Yue, also trained by Xu Zao Joe for guansh- performer, specializing in the chou (comic) and fu eng (kingly) role. He has won the outstanding per- (comprimario) roles. He has a high-registered voice forming award for young artists in Suzhou.

18 CAL PERFORMANCES