Because your question aroused my curiosity, I looked up some relevant information. It may be superfluous to you, but it may be beneficial to more readers.
The following are some introductions about Peony Pavilion and Youth Peony Pavilion.
Peony Pavilion
"Peony Pavilion" Ming? Written by Tang Xianzu. Write about the resurrection of Du Liniang. * * * Fifty-five. The plot is: Du Bao, the magistrate of Nan 'an in the Southern Song Dynasty, gave birth to only one daughter, named Li Niang, who is sixteen years old and has not yet been betrothed. Du Bao invited Chen Zui Liang, a 60-year-old scholar, to become a model for girls' middle schools. Because of Shang Chen's The Book of Songs? Guan Ju provoked Li Niang's feelings. Chunxiang, Bandu's maid, occasionally found the garden behind Du Fu and led Li Niang to sneak around in the garden. Li Niang, who has been trapped in the boudoir for a long time, moved the idea of visiting spring under the inspiration of good spring. After Li Niang returned to the house, she suddenly had a dream. I dreamed that a scholar asked her to write a poem with a willow branch in her hand, and was later carried to the Peony Pavilion by that scholar to have sex. After Li Niang woke up, she felt sleepy and went to the garden to find a dream the next day. Disappointed, acacia became a disease, and the description became thinner and thinner. One day, when I looked in the mirror, I saw that I was so thin. I asked Chunxiang to bring a painter and Su Bo, draw a picture of Chunrong by herself, and write a poem on it. She also told Chunxiang about the dream mirror and asked Chunxiang to find a painter to frame the painting. Du Bao and his wife heard that their daughter was seriously ill, so they called Chen Zuliang to get medicine and asked Shi to chant Buddhist scripture, but it was useless. On the night of Mid-Autumn Festival, Li Niang died. Before she died, she asked Chunxiang to put Chunrong in a rosewood box and hide it under the Taihu stone in the garden, and asked her mother to bury her under the plum tree next to the peony pavilion in the garden. At this time, Li Quan, the thief who surrendered, led the troops around Huai Yang. The court promoted Du Bao to Huai Yang Anfu and set out immediately. Du Bao had to bury his daughter in a hurry, built a plum blossom temple to worship Li Niang, and entrusted Shi He with custody. Du Bao took his wife and Chunxiang to Huai 'an. Due to the military crisis, Du Bao let his wife and Chunxiang return to Lin 'an by boat halfway. Liu Mengmei, the champion of Guangzhou Fuzhong, was originally named. Because one day she dreamed of a garden, a woman stood under a plum tree and said she was married to him, so she changed her name to Liu Mengmei. Liu Mengmei went to Lin 'an to catch the exam, and Lu got Miao Shunbin's help. When I went to Nan 'an, Liu was ill and lived in Meihua Temple. When Liu's illness gradually improved, I occasionally strolled around the garden, next to the Taihu Stone, picked up Li Niang's box of spring clothes, went back to the study, hung it in front of the bed, and burned incense and worshipped every night. Li Niang stayed in the underworld for three years. When Yan made friends with ghosts, Chad Li Niang was still dying and asked her to go home. Li Niang's ghost swam to Meihua Temple, and it happened that Yagyu was begging for his true face. Li Niang was greatly moved and met Yagyu, claiming to be the daughter of the west neighbor. Both of them talked and laughed every night, which shocked Shi. One day, they were talking and laughing, and suddenly history came and went. The next night, Li Niang had to tell Yagyu the truth and begged Yagyu to dig a grave and open a coffin within three days. Yagyu had to tell Shi the truth and ask her for help. The next day, they dug graves and opened coffins to bring Li Niang back to life. Fearing that Yagyu and Du Liniang would be discovered, the Taoist hired a boat overnight and the three of them went to Lin 'an together. Chen Liangliang found that Li Niang's grave was stolen and went to Yangzhou to tell Du Fu to appease him. Chen Liangliang was captured by the rebels before he arrived in Huai 'an. Li Quan heard that he was Du's tutor, and that Du Bao had his wife and Chunxiang, so he listened to his wife's plan and lied that he had killed Mrs. Du and Chunxiang, and then let them go. When Chen went to Huai 'an to see Du Bao, the grave of the young lady was stolen and the old lady and Chunxiang were killed. Du Bao was frightened. After Du Bao worked hard to write two letters, he gave them to Li Quan and Li's wife, sealed the official documents, surrendered to Li Quan, and Huai 'an was relieved. Li Niang and them went to Lin 'an and lived by the Qiantang River. Yagyu knew that the examination time had passed. Thanks to the examiner Miao Shunbin, they were able to make up the exam. At this time, the court delayed the release of the list because of the military affairs of Huai and Yang. Li Niang asked Yagyu to visit his parents in Yangzhou first. Shortly after Yagyu left, the old lady who came to Lin 'an and Chunxiang met Li Niang and Shi Gu Dao because she was looking for a place to spend the night. Yagyu went to Yangzhou and heard that Du was in Huai 'an, so he went to Huai 'an to see Du Bao. Du Bao thought his daughter was dead, so why did he have a son-in-law? He was accused of being an impostor by Liu Sheng and was taken to Lin 'an for trial. Du Bao returned to Lin 'an and was promoted to Prime Minister because of his outstanding military exploits. Chen Liangliang was promoted to the position of official of the Yellow Gate. At this time, under the list, Liu won the first prize, but Liu was nowhere to be found. It turned out that Liu was hanged by Du Bao, because Li Niang's spring capacity was found in Liu, and Du Bao thought Liu was a grave robber. At this time, Miao Shunbin heard about it and rushed to Du Fu to save Yagyu. Miao told Du Bao that Yagyu had won the first prize. When Du Zheng was angry, Chen Liangliang came and said that Miss Liu did live again, and Yagyu was a son-in-law. Du thinks it's a ghost, please play the emperor to destroy it. Chen told the emperor about it, and the emperor called the prime minister, the young lady, yagyu and the old lady to testify. When everyone arrived at the golden palace, the emperor looked in the mirror to see if there was any shadow, and concluded that Li Niang was really alive. Du Bao insisted that Li Niang and the old lady were ghosts, and then the emperor ruled that their father, daughter and husband should recognize each other. Li Niang also persuaded Yagyu to recognize her father-in-law Du Bao, and the whole family was happy. The existing "The First Collection of Ancient Opera Series" photocopied the Zhu Mo edition of Ming Taichang.
Youth Edition Peony Pavilion
Past lives in Youth Edition and Peony Pavilion
The magnificent love legend in Peony Pavilion was interpreted by the elegant and beautiful Kunqu Opera, which brought out the best in each other and spread on the stage for 400 years. In April, 2004, the "Youth Edition" Kunqu Opera Peony Pavilion, which was produced by the famous writer Bai Xianyong and co-created by artists from three places across the Taiwan Strait, began a global tour, giving this ancient art youth joy and life. This book contains the "Youth Edition" scripts and articles explained by famous artists at home and abroad, and brings together important historical pictures since the birth of Peony Pavilion, which is enough to prove history and be pleasing to the eye. From "beautiful classicism" to "youthful modernity", this book shows the lingering life and death for more than 400 years.
Text/Bai Xianyong?
This is my third time to participate in the production of the Kunqu Opera Peony Pavilion. Peony Pavilion is the masterpiece of Tang Xianzu, a great playwright in Ming Dynasty, and it is a 55% discount script after the legendary national beauty and fragrance. The structure is magnificent and the plot is tortuous. I only saw one point in the last two performances. It has been my dream for many years to compose and perform a full-scale Peony Pavilion. This time, the youth version of "Peony Pavilion" staged by Suzhou Kun Theatre finally made me realize my dream.
Discount from 55% to 29%
This time I also participated in the work of deleting the script. I and other members of the script writing team thought carefully for five months and cut the original 5.5 fold into 7.9 fold, which was divided into three books: upper, middle and lower. After three days of continuous performance, from the first one? Course? Play until the last play? Circular driving? , basically maintaining the integrity of the plot.
The theme of Peony Pavilion lies in the word "love", and our script is developed close to Tang Xianzu's thoughts of "love to the heart", "love to the truth" and "love to the depth": the first book was inspired by "dream love", the second book became "ghost love" and the third book came down to "human love". Du Liniang, the "best lover in the world" written by Tang Xianzu, went to heaven and earth for a long time because of his dream, and finally returned to earth and married Yagyu Mengmei. In The Peony Pavilion, love is given the highest praise. Love can transcend life and death, break through ethics, touch the underworld, touch the court, and finally win. The Peony Pavilion is an epic "love story", a continuation of the Romance of the West Chamber and the Red Chamber. It is a peak in China's romantic literary tradition.
The performance of Peony Pavilion is generally dominated by Du Liniang, mainly the performance of Dan Jiao. Our script restores the original spirit of Tang Xianzu, strengthens the role of Liu Mengmei, and pays equal attention to life and Dan. So? Pick up paintings? 、? Called painting? These two masterpieces of Towel Boy, which are often performed, have been properly adapted to highlight their importance. The 30-minute monologue gives full play to the performance art of Towel Boy, which is different from Du Liniang's first classic. Scared dream? 、? Looking for dreams? It's even. Liu Mengmei described by Tang Xianzu is far more than an elegant and handsome "dream lover". She is also a proud scholar who is not afraid of power and dares to fight rationalism. In this way, our script developed along two tracks, achieving the beauty of symmetry and balance.
The Youth Inheritance of Old Opera
After the literary version of "Desk" is compiled, it has to pass the test of "live" performance. Our general director is Wang Shiyu, a famous actor from Zhejiang and Kunming, who has the reputation of "towel first". He has 50 years of stage experience. After he was expelled from the rehearsal, our performance was finally finalized after several revisions.
Yu Jiulin and Shen Fengying were selected as Liu Mengmei and Du Liniang in The Peony Pavilion. Two young actors belong to the "Little Orchid" class of Suzhou Kunqu Opera Theatre. They are two pieces of rough jade with great potential, but the jade cannot be cut. Therefore, we strongly demand that Jiangsu Kunqu Opera Theatre be the "Dan Jiao Festival" of China Kunqu Opera, and Zhang will be stationed in Suzhou across the province to personally guide the teaching. This is also one of the purposes of making the youth version of Peony Pavilion, and through the rehearsal of a play, the important work handed down from generation to generation is completed.
Kunqu Opera is a performing art with a glorious history. It once dominated the drama stage in China for 200 years, but it has encountered a crisis of inheritance since the beginning of the last century. In the early years of the Republic of China, Kunqu Opera almost disappeared from the stage in China. Fortunately, a man of heart set up a "Kunqu Opera Studio" in Suzhou, and trained a group of outstanding actors with the word "Chuan" as the head, who will become the standard bearers of Kunqu Opera in the 20th century. He Zhang is the successor of these "handed down" generations of masters. I studied under Zhou, Zhang and Zai. Today, Yu Jiulin of the "Xiaolan" class is under his tutelage, and Zhang is officially accepted as a disciple. In the sense of inheritance, the two men inherited the playing style handed down from generation to generation by the master. This belongs to the authentic, orthodox and decent style of Kunqu Opera.
The Classical Spirit of Modern Drama
After all, the aesthetic standards of the audience in 2 1 century are very different from those in Ming and Qing dynasties. On the one hand, we try our best to keep the aesthetic tradition of abstract and freehand brushwork in Kunqu opera, but we also use the concept of modern drama to set off this classical drama, so that it meets the visual requirements of modern audiences and the classical spirit of Kunqu opera. We have gathered the first-class creative designers in Taiwan Province Province to participate in this huge cultural project: (art director, costume design), Lin (stage and lighting design), Wu (dance director) and Dong Yangzi (calligraphy art). Even the portrait in the play, I asked my painter friend Song to draw a pastel beauty picture and show her face on the stage. The performance of the youth version of Peony Pavilion can be said to be the crystallization of the wisdom of many cultural people.
The performance of the youth version of Peony Pavilion, featuring actors from Suzhou Kunqu Theatre, is also of special significance. Suzhou is a Millennium ancient capital with a long cultural tradition. In the history of China, Suzhou has always occupied an important position in "Jiangnan Culture", with a prosperous style of writing and a pool of talents. During the Ming and Qing Dynasties, it was once the center of China Kunqu Opera. It is no accident that Kunqu originated in Kunshan, a Wu language family near Suzhou. Wu Nong's soft language also determines the euphemistic and beautiful style of Kunqu opera. Suzhou garden art with flowers and winding paths; Suzhou embroidery with exquisite craftsmanship and colorful colors; In fact, the beautiful and elegant painting style of the four masters of Wumen belongs to the same cultural system as Kunqu Opera, and it is also the essence of "Jiangnan Culture".
In recent years, Suzhou intends to restore the glorious history of Kunqu Opera in Suzhou in the past and re-establish Suzhou's position as the center of Kunqu Opera. The youth version of Peony Pavilion, co-performed by Suzhou child Qi Xin, is a three-day drama, which is probably the prelude to the revival of Kunqu Opera in Suzhou.
Insider sees Bai Xianyong and Youth Peony Pavilion
Qin Zhou (executive deputy director of China Kunqu Research Center, consultant of Youth Edition and Peony Pavilion, professor of Suzhou University, doctoral supervisor);
Bai Xianyong often laughs that he is a volunteer of Kunqu Opera, and I agree with him very much. It was he who brought Kunqu back to people's sight. He really participated, and many people participated in this matter because of his face. He likes Kunqu opera very much.
At first, I didn't agree with "Youth Edition" and "Peony Pavilion", which was a bit funny. However, after watching their performance in Taipei, I felt that the effect was very good, and I began to understand that the so-called "youth version" is to attract young audiences with young actors telling youth love stories. Before coming to Suzhou University to perform, I was very worried, even scared, because Suzhou University was not as good as the performance venues in Taipei and Hong Kong, and its hardware facilities were relatively simple. Only after Bai Xianyong promised to come to Suzhou did we dare to make a big publicity. The performances in the past three days have proved that the performances of Youth Edition and Peony Pavilion are successful. Back and forth, we have an audience of 7000 people. However, Kunqu opera has its own artistic limitations. We can't hope it doesn't need to change its face like a pop song. Our purpose is only to attract a high-level audience.
We are very moved by the popularity of Youth Edition and Peony Pavilion in Taiwan Province Province for three reasons: First, there are two young actors in Kunqu Opera, who are both idols and powerful; Second, there are Kunqu successors who can perform for at least 20 years, which can make up for the fault phenomenon of Kunqu and become the torchbearer of Kunqu; Thirdly, I didn't expect the audience in Taiwan Province Province to like this play so much. When they come across a classic passbook like Dream of Scared Dreams, they can hum or beat the time with familiarity. At that time, the highest ticket price was awarded to 1800 yuan, which was actually a cultural identity of the audience in Taiwan Province province.
The two protagonists in Youth Edition and Peony Pavilion are both true colors, and it is more appropriate to use Du Liniang and Liu Mengmei, who are similar in age, to interpret them. Of course, they need to be honed, and the temperature is not very good. Being an actor is a gradual process. At present, their performances are more about passion than technology. After the performance from 50 to 100, the technology may be more passionate. These two are fish and bear's paw, and they need to get to know each other gradually. With their own consent, we hope that they will study for a master's degree in drama and drama to help improve their cultural literacy. There is no denying that the two actors are both beautiful, and it turns out that Bai has a good eye.
Wang Shiyu (artistic director and general director of Youth Peony Pavilion);
Bai Xianyong is a heartthrob in my eyes, even I can't escape his charm. After retiring from my post as the head of the Zhejiang Kunqu Opera Troupe, I could have enjoyed my old age in Hangzhou at leisure and guided the descendants of Kunqu Opera. But Bai Xianyong, who has been my friend for more than ten years, suddenly called me one day and said, "Take more students while you can still teach." He gave me his ideas about "Youth Edition" and "Peony Pavilion", and I immediately agreed.
Being stationed in Suzhou for a year is not necessarily easier than being a class teacher, because I have a dual role in this "Youth Edition" Peony Pavilion, both as Liu Mengmei's master and as the artistic director of this new drama. This version of Peony Pavilion is more complete than the previous performance version, which deeply embodies the spirit that Tang Xianzu wants to pursue. The whole play revolves around the word "love", which runs through and is inseparable. I have played Liu Mengmei all my life. In fact, I feel that "dreaming" and "picking up paintings" are 20% off, and the other parts seem to have been diluted. In fact, Du Liniang's infatuation and persistence lies in that Liu Mengmei is a person worthy of love, so we strengthened Liu Mengmei's play this time.
For Disciples' Rules, the biggest change is that they are not playing a craft, but learning to express characters. In the last rehearsal, the heroine Shen Fengying burst into tears. Shen Fengying said that whenever he played here, he would feel sad.