“靑春版” ≪牡丹亭≫의 성과와 의의- 崑曲의 현대적 계승과 재창조에 대한 논의를 겸하여
The Results and the Significances of the Young Lovers’ Edition(靑春版) of The Peony Pavilion(牡丹亭)
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The “Young Lovers’ Edition(靑春版)” of The Peony Pavilion(牡丹亭), a newly adapted version from a well-known Ming dynasty Kunqu Opera(崑曲) The Peony Pavilion(牡丹亭) writen in 1598 by Tang Xianzu(湯顯祖 1550-1616), was planed and produced by a Chinese- American novelist Bai Xianyong(白先勇) to be performed at Taipei in 2004, which was followed by over sixty performances in China for two years. The huge success of the “Young Lovers’ Edition” of The Peony Pavilion was due to the faithful adaptation from the original Kunqu Opera script with an emphasis on the emotional aspect between the hero(柳夢梅) and the heroine(杜麗娘), as well as the combination of the traditional stage setting and traditional music with the modern tastes such as using thematic songs for the hero and the heroine and wearing colorful stage costumes. These applications of modern elements shown in the script, performance, music, and the stage setting is also intended for shifting in generation of the audience. The widely welcomed performance of the “Young Lovers’ Edition” of The Peony Pavilion brought up the issue of inheritance and preservation of the heritage of Chinese traditional dramas and operas including Kunqu Opera.
Abstract
The “Young Lovers’ Edition(靑春版)” of The Peony Pavilion(牡丹亭), a newly adapted version from a well-known Ming dynasty Kunqu Opera(崑曲) The Peony Pavilion(牡丹亭) writen in 1598 by Tang Xianzu(湯顯祖 1550-1616), was planed and produced by a Chinese- American novelist Bai Xianyong(白先勇) to be performed at Taipei in 2004, which was followed by over sixty performances in China for two years. The huge success of the “Young Lovers’ Edition” of The Peony Pavilion was due to the faithful adaptation from the original Kunqu Opera script with an emphasis on the emotional aspect between the hero(柳夢梅) and the heroine(杜麗娘), as well as the combination of the traditional stage setting and traditional music with the modern tastes such as using thematic songs for the hero and the heroine and wearing colorful stage costumes. These applications of modern elements shown in the script, performance, music, and the stage setting is also intended for shifting in generation of the audience. The widely welcomed performance of the “Young Lovers’ Edition” of The Peony Pavilion brought up the issue of inheritance and preservation of the heritage of Chinese traditional dramas and operas including Kunqu Opera.
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