Kunqu
Washing Gauze by Liang Chenyu (1519-1591) drew its materials from a famous
historical story: Gou Jian, king of the State of Yue, underwent self-imposed
hardships so as to strengthen his resolution to wipe out a national humiliation.
The love between Xi Shi and Fan Ji runs through this drama as a unifying thread.
Their joys and sorrows, partings and reunions, as described by Liang Chenyu,
follow the political twists and turns of Liang's time.
With its constant development, Kunqu later formed quite a few
branches, such as Northern Kun, Xiang Kun, Chuan Kun, and Ning Kun. But during
the mid-Qing
Dynasty (1644-1911), Kunqu was on the decline. It was due to the
comprehensive retrieval of those famous repertoires after China's liberation
(1949) that Kunqu finally came back to life.
Other representative works of Kunqu are: Escorting Jingniang Home
(Qianli Song Jingniang), Fifteen Strings of Coins (Shiwu Guan), Love at First
Sight (Qiang Tou Ma Shang), and The Peony Pavilion
.
Maestro of Kunqu : Yu Zhenfei
Yu
Zhenfei, born in Songjiang (present-day Shanghai),
was the best-known maestro of Kunqu in the first half of the 20th
century. His artistry in Kunqu is comparable to that of the famed Mei
Lanfang in Peking
Opera . Yu Zhenfei himself attributed much of his success to his thorough
study and appreciation of classical literature.
Yu began to learn Kunqu at the age of six from his father who
was then a Kunqu actor. His talented skills in using his throat and
incredible appreciation of traditional art made him a maestro of Kunqu
and of Peking Opera as well. At the age of 14, he made his debut as Xiaosheng.
In the 1940s, he went to Hong
Kong to perform. It was in 1957 that he returned to Shanghai and became the
headmaster of the Shanghai Drama School.
Yu was also talented in traditional Chinese
painting and calligraphy
. Audiences were impressed by his elegant and delicate
performance.
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