This year marks the 22nd anniversary of Kunqu opera being listed as the first batch of the "Representative List of the Intangible Cultural Heritage of Humanity" by UNESCO, and both domestically and internationally there is a surge in popularity for Kunqu. On stage, the four major Kunqu opera theaters in Beijing compete with each other in performances of "The Peony Pavilion", showcasing works by renowned performers and rising stars. In theaters, an increasing number of young audiences can be seen, indicating that the ancient art of Kunqu is experiencing a rejuvenation.

"I saw the production of 'The Peony Pavilion' at all four major Kunqu opera theaters in Beijing during the first half of this year, and it was so exciting!" Looking back on her experience of watching performances during these past six months, audience member Lin Feng is still very enthusiastic and satisfied. "In February, I watched the Northern Kunqu Opera Theatre's production of 'The Peony Pavilion', in March I watched the Shanghai Kunqu Theatre's full-length three-day performance of 'The Peony Pavilion', in April I watched the Su Kun Bai Xianyong Youth Edition's three-day performance of 'The Peony Pavilion', and in May I watched the Jiangsu Province Kunqu opera's Essence Edition's two-day performance of 'The Peony Pavilion'. Each version has its own characteristics and unique strengths, and I never get tired of watching them!"

"The Peony Pavilion" is a major attraction in Beijing, partly because of its status as the national cultural center and its unique location advantages that attract various theater groups to perform. Additionally, due to a resurgence in the performance market and a growing interest in traditional cultural arts, Kunqu has garnered more and more fans, especially among younger generations. However, watching multiple performances of "The Peony Pavilion" over several days requires not only a certain degree of cultural literacy but also financial ability, as ticket prices are relatively high.

"The Peony Pavilion" has been performed more and more, longer and longer, and more comprehensively. This is related to the interest and patience of today's audience in understanding and appreciating the profound cultural connotations of Kunqu opera art. For example, in the full version of "The Peony Pavilion" performed by the Shanghai Kunqu Opera Troupe, there is an episode called "Chunxiang Naoxue", which adds a subplot about Chen Zuiliang, a tutor in a private school who asks his maid Spring Fragrance to fetch him some writing materials, but she brings back some make-up tools instead. This episode contains allusions, meaning, and comic effects, revealing the conflict between feudal ethics and the natural human desire for love and hobbies in a small but significant way.

Translator: TANG Yingqi

Reviewer: BAO Minmin