A Fine Article to Share | Yu Jiulin: As Time Passes, Spring Arrives Like This—The Past Twenty Years of the Youth Edition of “The Peony Pavilion”

Editor’s Note: To further implement the spirit of the 20th National Congress of the Communist Party of China, to put Xi Jinping Thought on Culture into practice, and to strengthen the ranks of literary and artistic professionals—cultivating a large number of renowned masters who excel in both moral integrity and artistic excellence—this initiative seeks to showcase…
The spiritual outlook and sense of responsibility of opera performers in the new era—since 2023, during the Opera Centennial (Kunshan) Grand Festival, the Ministry of Culture and Tourism has organized national performances by opera actors, categorized by their respective genres.
In 2023, the first joint performance featuring sheng and dan roles was held. Following the event, a total of 14 sheng actors and 12 dan actors were selected and awarded the honorary title of “Leading Talents in Chinese Opera (Sheng and Dan Roles) of the New Era.”
China Art Headlines has compiled their “Artistic Lives” to inspire more cultural and artistic professionals.

This year is 2024, marking the twentieth anniversary of the premiere of the youth‑oriented production of “The Peony Pavilion.” For me, that youthful rendition is more than just a cherished memory of my own youth;
It is, above all, a gift from heaven—a key, a weighty legacy—that fills my heart with gratitude, strengthens my resolve, and calls me to shoulder my mission.
 

In early 1994, after graduating from junior high school, I was admitted to the Kunqu Opera class at Suzhou Art School, and in 1998 I joined the Suzhou Kunqu Opera Troupe. At that time, Kunqu Opera was in a very difficult period, with extremely few performance opportunities,
By chance, in December 2002, Mr. Bai Xianyong gave a lecture titled “Romantic Love in Kunqu Opera” at several schools in Hong Kong and hoped to invite a few young actors.
They came to give a demonstration performance, and later four actors—including myself—were selected to perform excerpts from several scenes: “A Startling Dream,” “The Zither’s Temptation,” “A Fated Meeting,” and “Autumn River.”
It was through this performance demonstration that I first connected with Teacher Bai. He felt that my appearance, demeanor, and voice were particularly well-suited to portraying Liu Mengmei, but at the time, I was still…
A raw piece of jade most urgently needs a skilled teacher to guide it. In January 2003, through Teacher Bai’s introduction, I was fortunate enough to meet Master Wang Shiyu, the “top scholar among women.”
Together with my teacher’s wife, Teacher Ma Peiling, I formally became a disciple of Teacher Wang in the same year.
 

The youth‑oriented production of “The Peony Pavilion” remains faithful to Tang Xianzu’s original text. Through a thorough reworking, the 55 scenes of the original have been condensed into 27, with the performance divided into three acts—upper, middle, and lower.
And for the first time, the jinsheng role of Liu Mengmei appeared on stage in a complete form that runs throughout the entire play. As a first-time lead, I was fortunate to have the chief director’s guidance.
Teacher Wang guided me step by step, teaching me how to bring Liu Mengmei from the original text into a fully realized performance.


Poster for the Youth Edition of “The Peony Pavilion”

On April 29, 2004, the youth‑oriented production of “The Peony Pavilion” premiered in Taipei to resounding success, followed by a triumphant performance at the Cunju Hall of Soochow University, thus marking the beginning of its world tour.
Over the past two decades, our production has remained a perennial favorite, continually breaking new ground in the history of Kunqu opera. The Youth Edition of “The Peony Pavilion,” with its vibrant colors and blossoming beauty, has ushered in a new era for Kunqu.
The “Renaissance.”

All of this is thanks to Teacher Bai’s production philosophy, articulated from the very outset: to respect the classical while refusing to merely imitate it, and to embrace the modern without overusing it.
Over the years, through continuous study, performance, and personal reflection, I have refined my portrayal of Liu Mengmei, earning the affection and recognition of audiences.
Before and during the rehearsal of the youth‑oriented production of “The Peony Pavilion,” countless teachers offered me their help, encouragement, and inspiration—words may fall short, but my gratitude runs deep.
My growth and progress would not have been possible without them.


The 100th performance of the youth‑oriented production of “The Peony Pavilion” came to a close (Photo by Xu Peihong).
 

Beginning in 2007, continuing along the increasingly refined trajectory of the “New Aesthetic of Kunqu Opera,” I studied under Teacher Yue Meiti and staged new productions of The Jade Hairpin and The Champion of the Flower Fair.
Under the guidance of Professor Bai Xianyong’s “New Aesthetics of Kunqu Opera,” the Suzhou Kunqu Opera Troupe has gradually established a creative direction that is deeply rooted in the genre’s place of origin and dedicated to crafting high‑quality artistic works.
 

Throughout the touring performances of the youth‑oriented production of “The Peony Pavilion,” I seized every opportunity to learn from my teachers. In 2013, I studied the scene “Examining the Petition” from “White Robe” under Teacher Yue.
This scene is the most famous episode in “The White Robe,” and it is also a celebrated work for young male roles, featuring intense dramatic conflict and vividly drawn characters, with performances that fully embody the essence of Kunqu opera.
“The saying ‘different trades are as distant as mountains’ perfectly captures the situation.” When Teacher Bai saw that I had taken on the role of a court official and performed it with real flair, he was thoroughly pleased. He felt I needed to build a repertoire of signature works to broaden my range in the performing arts.
Lu wholeheartedly endorsed my plan to stage the complete version of “The White Robe.” And this, too, was a long-cherished wish that Teacher Yue himself had been unable to fulfill in his own time.
 

Compared with the classical version, the new adaptation of “The White Robe” reorients the entire narrative around such focal points as father and son, fate, human nature, redemption, and the interplay of love and beauty—built upon the foundation of the inherited “guzi xi.”
Above, the other segments were meticulously crafted through the collaborative efforts of Teacher Yue and Teacher Huang Xiaowu. The lighting, costumes, and stage design employ contemporary techniques, yet they are conceived in accordance with traditional principles.
Simple and elegant, rich in meaning, it serves the plot and characters with just the right touch.

Beyond the professional leap it represents, the new production of “The White Peony” has offered me far more than that. In the past, I was merely an actor—performing on stage was all there was to it; this time,
It was the first time, since I took on a managerial role at the Kunqu Opera Theatre, that I had fully and deeply engaged in the creation of an entire production, witnessing its entire journey from conception to completion.
Throughout this journey, I have grown through trial and error; having experienced it firsthand, I have come to deeply appreciate the selfless dedication and the immense challenges faced by all the teachers who have supported us along the way, for which I am truly grateful.



Still from “The White Robe – The Trial”

In 2022, I took on another challenge in my artistic career: staging the original Kunqu opera “Fan Wenzheng Gong,” in which I portrayed Fan Zhongyan. This production was penned by the renowned Fujian playwright, Master Zheng Huaixing.
Created with emotion at its core, this four‑act short play weaves together the lifelong devotion to family and country that defined Fan Zhongyan, skillfully bringing to life his noble character and remarkable achievements, all conveyed through profoundly moving artistry.
The power of his performance allows Fan Gong’s spirit to quietly guide the audience. For me, portraying Fan Zhongyan—someone whom audiences revere—is in itself a formidable challenge; on the acting front, I must also embody different ages of the same character.
For Fan Gong, the role also requires mastering the distinct performance styles of the “zhongsheng,” “xiaoguansheng,” “daguansheng,” and “laosheng” roles—yet another formidable challenge. In terms of stage presentation, “Fan Wenzhenggong” adheres to the principle of upholding tradition while innovating,
While honoring tradition, it draws on contemporary modes of expression and integrates modern aesthetics, emphasizing above all the aesthetic quality of “both poetry and painting,” thereby fully embodying the refined elegance of Jiangnan culture.


Still from “Fan Wenzhenggong: Night Letter” (Photography by Gong Jun)
 

Looking back over these years, I have been fortunate. Along the way, I have received countless words of encouragement, care, and support from teachers, mentors, and friends. I believe that, above all else, their sole intention has been to…
Kunqu. I am immensely grateful—I chose Kunqu, and Kunqu chose me. Now, with the youth production of The Peony Pavilion about to reach its 500th performance, for our generation the relay of passing on the tradition.
The baton has now been passed into our hands. I believe we no longer belong solely to ourselves; we should do something for Kunqu Opera—and for the greater good.
 

Since 2017, through my personal projects, I have successively taught the youth‑version of “The Peony Pavilion” and the new version of “The Jade Hairpin” to the fifth generation of Su‑Kun performers belonging to the “Zhen” cohort. And I, together with the youth‑version…
The leading actors of “The Peony Pavilion” followed in Teacher Bai’s footsteps, fully engaging in efforts to preserve and promote the work on university campuses. In 2014, at the recommendation of writer Teacher Yang Shousong,
In his hometown of Bacheng, Yu Jiulin established the Yu Jiulin Kunqu Opera Studio. Officially launched in 2016, the studio has since organized a series of public‑interest Kunqu performances and initiatives. At the same time, the studio also undertakes projects for several…
The teaching work of the Xiao Kun class in primary school continues to strive tirelessly to popularize Kunqu Opera and cultivate talent in the performing arts…