Since 2004, renowned writer Pai Hsien-yung has been touring with a youth adaptation of the classic Kunqu opera, “The Peony Pavilion.” Recently, this adaptation celebrated its 20th anniversary with a special performance at Peking University’s Century Memorial Hall. Coinciding with the event, a simplified edition of the new book “Flowering in the Peony: The Youth Version of ‘The Peony Pavilion’ and the Revival of Kunqu” was published by the Writers Publishing House. In an exclusive interview, China News reporter engaged with Pai Hsien-yung and Xu Peihong, the dedicated photographer for the youth version of “The Peony Pavilion,” to learn more about the story behind the “Kunqu Revival.”

From September 14 to 16, Peking University hosted the 20th anniversary performance of the youth adaptation of “The Peony Pavilion.” As the lights dimmed, attendees were treated to striking visuals captured by Xu Peihong, showcasing the vibrancy of the performance.

At 87 years old, Pai Hsien-yung’s energy remains remarkable. He can deliver a two-hour lecture with ease, all while sipping on an iced cola, passionately discussing the intricacies of Kunqu.

Kunqu opera, which traces its roots back to the late Yuan and early Ming dynasties in the region surrounding Suzhou, Shanghai, and Wuxi, is known as the “Mother of a Hundred Theatre Arts.” Pai first encountered Kunqu in 1945 in Shanghai when he witnessed a performance of “The Peony Pavilion” by Mei Lanfang and Yu Zhenfei, which sparked his lifelong fascination. In 1987, following the opening of cross-strait exchanges, he returned to Shanghai and was deeply moved by the Suzhou Kunqu Opera’s complete production of “The Eternal Longing.” In his writings, he expressed his conviction that such extraordinary art forms should not fade away. “I’ve begun to feel a responsibility to support the revival of Kunqu,” he writes.

In the early years of China’s reform and opening up, Kunqu saw a gradual revival with more performances, but it was also evident that the aging audience and artists were leading to a decline in the art form due to outdated staging and aesthetics.

In 2000, after a near-fatal heart attack in the United States, Pai Hsien-yung reflected on his close call with death. “If I’m meant to live, perhaps there’s work left for me to do, like continuing the revival of Kunqu,” he thought.

His vision includes staging “The Peony Pavilion” and mentoring a new generation of young actors to revitalize audience engagement—an embodiment of the adaptation’s “youthful” spirit.

Originally penned by the Ming dynasty’s playwright Tang Xianzu, “The Peony Pavilion” unfolds the poignant love story of Du Liniang and Liu Mengmei, transcending life and death through their profound connection. Pai chose this “myth of love” for its resonance with fundamental values of beauty and emotion in traditional Chinese culture. “It captures the deepest feelings of the Chinese people in the most beautiful form,” he explains.

Having witnessed Kunqu being designated a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO in 2001, Pai found renewed encouragement. Fueled by passion and determination, he embarked on the path of Kunqu revival, starting with the youth version of “The Peony Pavilion.”

However, the journey has not been without challenges. “In Taiwan, opportunities to see pure Kunqu performances were limited, and only a niche audience of literature or drama students attended the few available shows,” recalled Xu Peihong. Despite concerns from others that Pai’s venture could be overly ambitious, he persevered. In 2003, he collaborated with the Suzhou Kunqu Opera to develop the youth version, rallying support from cultural figures across the mainland, Hong Kong, and Taiwan.

Weng Guosheng, a martial arts instructor for the Beijing Kunqu troupe, directed part of the youth adaptation. During a recent book launch, he noted that some of the original scripts and materials exist, but many of the senior artists had passed, making the staging of those works impossible. Pai urged that the tradition of “restoring old works to their original glory” should guide their efforts in reviving these pieces through Kunqu’s unique aesthetics.

This aligns with Pai’s concept of the “new aesthetics of Kunqu”—respecting the classical without being bound by it and utilizing modern elements without overindulgence. He believes that while the staging conditions have changed, the foundational techniques of Kunqu—chanting, singing, and acting—remain unchanged. “The aesthetic principles must be preserved while integrating contemporary lighting and design elements,” Pai emphasizes.

Over 20 years, the youth version of “The Peony Pavilion” has successfully captured the attention of younger audiences. According to investor Gu Huai-zhen, the success of the revival stems from the team’s unwavering commitment to traditional culture. “Everyone involved worked collaboratively, setting aside personal ambitions for a common goal, proving that we all share a united heritage,” he remarked.

For Xu Peihong, who has captured this journey through photography, the pride lies in having documented the same production and actors for two decades. He admits the prospect of fatigue from repeated subject matter never crossed his mind. “Each shoot brings fresh dynamic performances,” he noted, highlighting how the actors’ energy evolves over time. After witnessing a recent performance in Taipei and Kaohsiung, he was impressed by the growth of the leads, who have both transformed hugely over the years.

Reflecting on Pai Hsien-yung’s influence in the arts, Xu recalled a moment when they met a student from Singapore who had discovered Kunqu through one of Xu’s photography books. The student shared how the art form helped her cope with loneliness while studying abroad. “I told Pai, the seeds you’ve sown are truly beginning to flower,” he said.

The youth version of “The Peony Pavilion” has grown beyond just a theatrical production, evolving into a comprehensive cultural initiative. In 2005, its premiere at Peking University attracted students mostly unfamiliar with Kunqu, prompting Pai to advocate for Kunqu courses at various universities to further engage young audiences.

Emeritus Professor Wang Anqi from National Taiwan University views this initiative as a significant step toward establishing Kunqu education. In 2018, a group of 24 actors and 14 musicians from various Beijing institutions performed a campus version of “The Peony Pavilion,” increasing the visibility and appreciation of Kunqu among the youth.

In today’s context of global cultural exchanges and personal pressures, many young people are turning to traditional culture as a refuge. Pai Hsien-yung believes this is a natural inclination. “It’s simply in our cultural DNA,” he remarked. “Traditional Chinese culture is where we ultimately find our roots.”

Reflecting on contemporary performances in Taiwan, he noted the overwhelming presence of students and youth in the audience. “At that moment, all the barriers between the straits and ‘de-Sinicization’ were rendered ineffective. This cultural project, built collaboratively by elites from both sides, remains vibrant after 20 years.” He concludes that culture has the power to bridge gaps and connect hearts.

Now, Pai is contemplating the future of Kunqu and how to pass it to the next generation. Xu revealed that the National Arts Fund’s 2024 project titled “Youth Training for the Youth Version of Kunju ‘The Peony Pavilion'” has commenced at the Suzhou Kunqu Theatre, signifying a promising future for the 600-year-old art form. Though the initial enthusiasts may be aging, there will forever be younger generations ready to join in the safeguarding and transmission of this cherished tradition.