Expert Interview from the Tang Xianzu Academic Symposium (I) | Zhou Xishan: Fuzhou Has Achieved Abundant Research Results in Tang Xianzu Culture

“It is indeed no easy feat to bring together scholars from across the country once again for this grand event, a testament to the strong sense of unity in Fuzhou,” said Zhou Xishan, a researcher at the Shanghai Research Center for Arts, on November 11, speaking highly of the 2022 China (Fuzhou) Tang Xianzu Academic Symposium.

Zhou Xishan, who has attended academic symposiums in Fuzhou on multiple occasions, is well aware of the city’s achievements in recent years in the field of Tang Xianzu–related cultural research. “Each time I come to Fuzhou, I can sense the local community’s growing scholarly foundation and progress—evidenced, for instance, by the publication of numerous influential monographs and the establishment of a digital platform dedicated to Tang Xianzu studies,” Zhou Xishan remarked.

In interviews, Zhou Xishan has repeatedly expressed his deep admiration and praise for “The Peony Pavilion.” “Tang Xianzu holds a pivotal place in the history of Chinese culture, and his masterpiece, ‘The Peony Pavilion,’ has been eagerly staged by leading artists across the board, a testament to its profound influence,” Zhou Xishan remarked.

To better promote the theatrical culture of Tang Xianzu, Zhou Xishan believes that Fuzhou should continue to unite experts and scholars from both home and abroad, collaborate with more research institutions, and conduct broader studies on Tang Xianzu’s dramatic legacy, thereby further safeguarding and passing on China’s fine traditional culture. “It would also be worthwhile to convene a team of specialists to conceive and stage a full‑length production of ‘The Peony Pavilion’ at 45% off, holding open auditions nationwide among Kunqu troupes to select the most suitable performers. This classic work should be preserved in its original form—without any cuts or alterations—presented against minimal scenery, restored to the performance style of the Ming and Qing dynasties on red carpets or ancient stages, and brought to life under the guidance of a directorial team led by master‑level Kunqu artists, thus establishing it as a model for the faithful transmission of classical opera.” Zhou Xishan remarked enthusiastically.

(Text by reporter Hong Bei, Photos by reporter Li Jiang)