The Tang Xianzu Memorial Hall in Fuzhou is a comprehensive cultural venue built to commemorate Tang Xianzu, one of the world’s hundred great cultural figures and a master of Ming‑dynasty drama in China. It is also one of Jiangxi Province’s ten major memorial halls dedicated to historical luminaries.
Latest News | After two decades, with youthful vigor intact, Bai Xianyong returns to Peking University with a contemporary adaptation of “The Peony Pavilion.”
Author:
Source:
Tang Xianzu Memorial Hall Official Account
Time:
2024-09-18
Twenty years of youth, so precious.
Bai Xianyong presents the youth-oriented production of “The Peony Pavilion.”
Return to Peking University
Bai Xianyong’s lecture at Peking University,
Self-proclaimed captain of the Kunqu Opera volunteer team
On September 13, the academic lecture titled “The ‘Journey to the West’ of the Youth Edition of The Peony Pavilion,” part of the series commemorating the 20th anniversary of the premiere of the Youth Edition of The Peony Pavilion, was held in the Li Ying Hall of Peking University’s Centennial Lecture Hall. At exactly seven o’clock that evening, the production’s general producer—novelist, essayist, critic, playwright, and scholar Bai Xianyong—made a timely appearance before a gathering of students.
In 2024, it marks the 20th anniversary of the premiere of the Youth Edition of “The Peony Pavilion.” As a quintessential example of both upholding tradition and fostering innovation in Chinese opera, this production has left an indelible mark on the history of Kunqu performance. Some critics have hailed it as another landmark work—following “The Fifteen Strings,” which is often credited with reviving an entire theatrical genre—this time achieving the broader popularization of Kunqu through a single play. Since the beginning of this year, the Youth Edition has embarked on a new tour celebrating its 20th anniversary, with the original cast receiving rapturous receptions wherever they go, recreating the once‑unprecedented scene of sold‑out performances.
Bai Xianyong’s Lecture at Peking University
(Image from Peking University’s Journalism Website)
“With young actors”
To rally the young audience.
“My connection with Peking University runs very deep,” recalled Bai Xianyong, now 87, in his opening remarks. Since first bringing the youth‑version of “The Peony Pavilion” to Peking University in 2005—“that production was also introduced by Professor Ye Lang”—the company has returned for four more performances in 2006, 2009, and 2016. This year marks the 20th anniversary of the play’s premiere; from September 14 to 16, over three consecutive days totaling nine hours, it makes its fifth appearance on the campus of Yan Garden.
“I have an indescribable bond with Kunqu opera.” When he was nine, Bai Xianyong was in Shanghai with his family and, at the Meiqi Grand Theater, witnessed Mei Lanfang and Yu Zhenfei perform the “Youyuan Jingmeng” scene from *The Peony Pavilion*. “It was 1945, just after the victory of the War of Resistance; Mei Lanfang hadn’t performed for eight years, so everyone flocked to see him—truly, the streets were emptied. Rumor had it that a ticket on the black market cost as much as a small yellow croaker. Fortunately, someone delivered tickets to our home at the time.”
Chief Planner: Bai Xianyong
“Twenty Years Since the Peony Bloomed—The Youth Edition of The Peony Pavilion and the Revival of Kunqu Opera”
(Published by Writers Publishing House, 2024 edition)
From that moment on, Kunqu opera took deep root in the heart of the young Bai Xianyong, and his novella “A Dream Within a Garden” was born of it. “In truth, I am not part of the Kunqu world—I am a writer. It was fate’s mighty hand that drew me to Kunqu. I left Shanghai in 1948, and in 1987 Fudan University invited me as a visiting scholar, allowing me to return to Shanghai after thirty-nine years. At the time, the Shanghai Kunqu Opera Troupe was performing the complete version of ‘The Palace of Eternal Life.’ I had assumed that the lifeblood of Kunqu had been severed, but to my great surprise, it had risen anew from the ashes on stage, leaving me profoundly moved.”
Since then, Bai Xianyong has once again been moved to action. “Kunqu opera is a treasured gem of our nation; such an extraordinary art form must not be allowed to fade away. From the bottom of my heart, I vowed to see this through, and step by step, by 2003 I conceived the idea of adapting The Peony Pavilion. Let me make one thing clear: I am merely a ‘Kunqu volunteer,’ nothing more than the ‘chief coordinator’ of that effort. I have been leading the charge at the forefront, while behind me stands a vast array of artistic luminaries and literary scholars, united in purpose and working hand in hand. The Youth Edition of The Peony Pavilion has now reached its twentieth anniversary, and it can rightly be hailed as one of the most successful examples of cross-strait cultural exchange.”
Why was it titled the “Youth Edition” of The Peony Pavilion? Bai Xianyong explained the reasoning in detail: “First, by that time, the leading masters of Kunqu opera had all reached retirement age, and there was a serious shortage of new talent, with the risk of a generational gap. So we decided to use this classic Kunqu masterpiece as an opportunity to swiftly train a new cohort of young actors to carry on the tradition.”
Bai Xianyong and the two lead actors of the youth-oriented production of “The Peony Pavilion”
Yu Jiulin and Shen Fengying
(Photography by Xu Peihong)
“Under the guidance of Teacher Wang Shiyu, Teacher Zhang Jiqing, and Director Weng Guosheng, the cast underwent rigorous training throughout the entire year of 2003—what we called a ‘devil‑ish’ regimen. The male lead, Yu Jiulin as Liu Mengmei, recalled, ‘My muscles were burning, my flesh seemed to be splitting apart.’ He practiced the ‘kneeling step’ until both knees were raw and bleeding; the female lead, Shen Fengying as Du Liniang, ran the circular stage so relentlessly that she wore out more than a dozen pairs of shoes and cried herself into a pool of tears. This production truly was steeped in blood and tears, yet it was precisely during that year that it took root—deep, unshakable roots. It wasn’t until its Taipei premiere in 2004 that it began its journey, which has carried on to this day.”
“The second reason is that the audience has grown older. Back then, whenever Kunqu opera was mentioned, people would say, ‘Oh, that’s something grandma and grandpa used to watch.’ Kunqu is even nicknamed ‘sleep-inducing opera’—it makes you drowsy—and it has become disconnected from younger generations. So we need to draw young audiences back into the theater, using young performers to attract a youthful crowd. Moreover, *The Peony Pavilion* itself celebrates youth, love, and life. I believe Kunqu has always possessed a vibrant, youthful vitality, and now I want to revive that youthful energy,” said Bai Xianyong.
Peking University Centennial Hall
The 520th performance of the Youth Edition of “The Peony Pavilion”
(Photography by Xu Peihong)
“We have arrived in Shakespeare’s hometown,”
“It’s gone to challenge the birthplace of Greek tragedy.”
“Kunqu opera—just by its name, ‘Kun,’ we can tell it originates in Kunshan. Today, when people think of Kunshan, they often picture the factories of numerous Taiwanese businesspeople. As for why Kunqu emerged in Kunshan, I believe it has much to do with the distinctive characteristics of the Wu dialect—much like how Western opera arose in Italy, where the Italian language itself is highly musical. The same holds true for Wu; its unique tonal and rhythmic qualities shaped the exquisite vocal style of Kunqu. Over the ensuing six centuries, through the meticulous refinement of dramatists and literati, it evolved into an exquisitely polished theatrical form, gradually spreading across the country. From the late Ming through the Qianlong and Jiaqing periods of the Qing dynasty, Kunqu truly deserved its status as the national opera,” Bai Xianyong continued.
“Kunqu opera spread from the Suzhou–Hangzhou region to the north, first and foremost because the emperor took a liking to it. Qianlong’s imperial troupe alone numbered a thousand performers, which in turn sparked widespread admiration among the imperial family and high-ranking officials. Meanwhile, ordinary citizens also cherished Kunqu; every year around the Mid-Autumn Festival, Tiger Hill in Suzhou would host folk competitions, with many singers performing until dawn to determine a champion… Although it later declined for various reasons, this does not mean that Kunqu’s artistic achievements have vanished. Its aesthetic sophistication has long stood as a benchmark—it is the ‘ancestor of all theatrical forms’—and the subsequent development of Peking Opera was likewise influenced by it. In 2001, UNESCO proclaimed the first batch of “Representative Works of the Oral and Intangible Heritage of Humanity,” selecting nineteen entries, with our Kunqu opera being the very first.”
Peking University Centennial Hall
The 520th performance of the Youth Edition of “The Peony Pavilion”
(Photography by Xu Peihong)
“It was precisely for this reason that, after the youth‑oriented production of The Peony Pavilion had enjoyed a two‑year run in China, we decided in 2006 to bring Kunqu opera to the United States, hoping to see whether Western audiences could embrace such a distinguished art form. We began on the U.S. West Coast, staging twelve consecutive performances across four University of California campuses—Berkeley, Irvine, Los Angeles, and Santa Barbara—all of which sold out. Even the most expensive $200 ticket packages were completely snapped up, and fully 60 percent of the audience was made up of non‑Chinese American spectators. At first, we worried that a full‑length, nine‑hour performance might seem excessively long, and that some viewers might leave midway, making the experience awkward. But when the curtain fell, the audience rose to their feet, erupting in more than ten minutes of sustained applause and cheers. Of course, we undertook extensive preparatory work beforehand, with translation playing a crucial role: Professor Li Linde, hailing from a renowned Kunqu family, crafted the subtitles, distilling the plot’s key elements within the constraints of limited space.”
English poster for the youth version of “The Peony Pavilion”
Bai Xianyong explained that after “The Peony Pavilion,” the production went on to stage performances on the U.S. East Coast, in London, and in Athens, Greece. “We even ventured to Shakespeare’s homeland—the cradle of Greek tragedy—and received an overwhelmingly positive response. During our run in the United Kingdom, then‑Ambassador to the UK Fu Ying was immensely supportive, attending for three consecutive days. Both The Times and The Guardian awarded the show four stars, and The Times published two reviews within a single week.”
In Bai Xianyong’s view, “The Peony Pavilion,” as an Eastern love myth, stands in stark contrast to Shakespeare’s “Romeo and Juliet.” “The latter is a tragedy: once the characters die, they are gone. In ‘The Peony Pavilion,’ Du Liniang dies only to come back to life, which is why Chinese love is a kind of passion that leaves one ‘dead and then revived’—it demands a grand, happy ending. In fact, these two great love stories emerged almost at the same time: ‘The Peony Pavilion’ was written in 1598, while ‘Romeo and Juliet’ dates from 1596. And, quite by coincidence, both of these towering playwrights passed away in 1616.”
Portrait of Tang Xianzu
“We’ve found that Western audiences truly appreciate the beauty of Kunqu opera. What is the ‘Dream of Awakening’ in The Peony Pavilion about? After strolling through the garden, the young Du Liniang has a springtime dream: in her vision, a handsome scholar holds her in the Peony Pavilion, and the two share an intimate, tender moment. How do you stage such a scene? It’s no easy task—after all, you can’t literally strip off one’s clothes. Teacher Wang Shiyu’s solution here is deeply artistic, using the fluid movements of the water sleeves to convey that lingering, tender embrace. When Western viewers see it, they exclaim: ‘To express romantic love on stage in this way—so graceful, so expressive.’ Kunqu opera, in its most exquisite form, captures the deepest emotions of the Chinese people.”
“All of this has given us great confidence: Kunqu Opera truly is a cultural heritage of all humanity. Previously, Westerners were only familiar with China’s Peking Opera, but they were astonished to learn that Kunqu, which emerged several centuries before Peking Opera, was already a highly sophisticated and refined performing art—surpassing even their own operas by two hundred years. Consider this: since the Renaissance, and especially in the nineteenth and twentieth centuries, the West held the dominant voice in global culture, with opera, ballet, classical music, and more; yet here we are, with China’s Kunqu standing shoulder to shoulder with these very same art forms,” said Bai Xianyong.
After the lecture, the university students gathered around Bai Xianyong.
(Image sourced from The Paper)
Content reprinted from the “The Paper” client.
The Youth Edition of “The Peony Pavilion”
20th Anniversary Performance
Entering Peking University
Reviving Kunqu Opera Classics
The youth‑oriented Kunqu opera “The Peony Pavilion,” co‑created by the renowned Taiwanese writer Pai Hsien‑yung and the Suzhou Kunqu Opera Troupe of Jiangsu Province, returned to Peking University on the evening of September 14, reenacting this timeless Chinese literary love myth on the hallowed grounds of the century‑old institution.
“The performance was truly outstanding; the actors brought their characters to life with remarkable vividness, and the audience responded enthusiastically, creating a wonderful atmosphere,” said Sun Wenyue, a student at Peking University. She added that being there, she could feel the timeless beauty and vitality of classical art. The youth‑oriented production of “The Peony Pavilion” represents both the inheritance and innovation of traditional culture—a renewed quest for and invocation of classical aesthetics.
Peking University Centennial Hall
The Youth Edition of “The Peony Pavilion”
The 520th match
(Photography by Xu Peihong)
“The Peony Pavilion is a play that celebrates youth, love, and life, and the Youth Edition summons a youthful audience with young performers, thereby sustaining the enduring vitality of Kunqu opera.” The night before, Bai Xianyong delivered a lecture at Peking University titled “The Youth Edition of The Peony Pavilion: ‘Journey to the West.’” The octogenarian stood throughout his more than two-hour talk, sharing the splendor of this monumental Kunqu production’s performances in Europe and America, and engaging in lively dialogue with faculty and students.
Bai Xianyong stated that it is thanks to the tireless efforts of outstanding Kunqu opera talents from both sides of the Taiwan Strait, as well as numerous scholars and industry professionals, that this work has been able to be appreciated, understood, and deeply resonated with audiences from diverse cultural backgrounds, becoming a successful model of international cultural exchange. As a result, the Youth Edition of “The Peony Pavilion” has radiated powerful vitality, stepped onto the world stage, and carried forward traditional Chinese culture.
In 2009, Bai Xianyong and the Institute for Cultural Industries at Peking University jointly launched the “Bai Xianyong–Peking University Kunqu Opera Heritage Program,” after which he taught at Peking University for ten consecutive years.
Spring 2017, Peking University “
Course Schedule for the Kunqu Opera Heritage Program
“It’s a great joy to return to the familiar Yanyuan through this performance; the youthful energy and spirit of proactive striving radiating from Peking University students have truly inspired me,” Bai Xianyong said with emotion. Seeing the enthusiastic support and affection that so many students have for the youth‑oriented production of “The Peony Pavilion” has reinforced his sense of the cultural confidence of China’s young intellectuals.
Peking University Centennial Hall
The 520th performance of the Youth Edition of “The Peony Pavilion”
(Photography by Xu Peihong)
“Kunqu opera boasts a glorious past and an even brighter future,” Bai Xianyong encouraged the students to delve deeper into Kunqu culture in their future studies and research, thereby fostering its continued transmission and development.
Since its premiere in 2004, the Youth Edition of “The Peony Pavilion” has been performed more than 500 times both at home and abroad, attracting a total audience of one million, the majority of whom are young people. This March, the production returned to Taiwan, embarking on a tour that stopped in Taipei, Kaohsiung, Hsinchu, and other cities. Prior to its Beijing engagement, it had already enjoyed a three-day run at the National Centre for the Performing Arts. Recently in Beijing, Bai Xianyong also launched the simplified‑character edition of his new book, “Twenty Years After the Peony Bloom: The Youth Edition of ‘The Peony Pavilion’ and the Revival of Kunqu Opera.”
20th Anniversary Performance
Entering Peking University
Reviving Kunqu Opera Classics
The youth‑oriented Kunqu opera “The Peony Pavilion,” co‑created by the renowned Taiwanese writer Pai Hsien‑yung and the Suzhou Kunqu Opera Troupe of Jiangsu Province, returned to Peking University on the evening of September 14, reenacting this timeless Chinese literary love myth on the hallowed grounds of the century‑old institution.
“The performance was truly outstanding; the actors brought their characters to life with remarkable vividness, and the audience responded enthusiastically, creating a wonderful atmosphere,” said Sun Wenyue, a student at Peking University. She added that being there, she could feel the timeless beauty and vitality of classical art. The youth‑oriented production of “The Peony Pavilion” represents both the inheritance and innovation of traditional culture—a renewed quest for and invocation of classical aesthetics.
Peking University Centennial Hall
The Youth Edition of “The Peony Pavilion”
The 520th match
(Photography by Xu Peihong)
“The Peony Pavilion is a play that celebrates youth, love, and life, and the Youth Edition summons a youthful audience with young performers, thereby sustaining the enduring vitality of Kunqu opera.” The night before, Bai Xianyong delivered a lecture at Peking University titled “The Youth Edition of The Peony Pavilion: ‘Journey to the West.’” The octogenarian stood throughout his more than two-hour talk, sharing the splendor of this monumental Kunqu production’s performances in Europe and America, and engaging in lively dialogue with faculty and students.
Bai Xianyong stated that it is thanks to the tireless efforts of outstanding Kunqu opera talents from both sides of the Taiwan Strait, as well as numerous scholars and industry professionals, that this work has been able to be appreciated, understood, and deeply resonated with audiences from diverse cultural backgrounds, becoming a successful model of international cultural exchange. As a result, the Youth Edition of “The Peony Pavilion” has radiated powerful vitality, stepped onto the world stage, and carried forward traditional Chinese culture.
In 2009, Bai Xianyong and the Institute for Cultural Industries at Peking University jointly launched the “Bai Xianyong–Peking University Kunqu Opera Heritage Program,” after which he taught at Peking University for ten consecutive years.
Spring 2017, Peking University “
Course Schedule for the Kunqu Opera Heritage Program
“It’s a great joy to return to the familiar Yanyuan through this performance; the youthful energy and spirit of proactive striving radiating from Peking University students have truly inspired me,” Bai Xianyong said with emotion. Seeing the enthusiastic support and affection that so many students have for the youth‑oriented production of “The Peony Pavilion” has reinforced his sense of the cultural confidence of China’s young intellectuals.
Peking University Centennial Hall
The 520th performance of the Youth Edition of “The Peony Pavilion”
(Photography by Xu Peihong)
“Kunqu opera boasts a glorious past and an even brighter future,” Bai Xianyong encouraged the students to delve deeper into Kunqu culture in their future studies and research, thereby fostering its continued transmission and development.
Since its premiere in 2004, the Youth Edition of “The Peony Pavilion” has been performed more than 500 times both at home and abroad, attracting a total audience of one million, the majority of whom are young people. This March, the production returned to Taiwan, embarking on a tour that stopped in Taipei, Kaohsiung, Hsinchu, and other cities. Prior to its Beijing engagement, it had already enjoyed a three-day run at the National Centre for the Performing Arts. Recently in Beijing, Bai Xianyong also launched the simplified‑character edition of his new book, “Twenty Years After the Peony Bloom: The Youth Edition of ‘The Peony Pavilion’ and the Revival of Kunqu Opera.”
Content reprinted from the Xinhua News Agency client.
Bai Xianyong: Promoting Kunqu Opera on Campus
It is a very important topic,
It will have far-reaching implications in the long term.
“In 2004, the youth‑oriented production of ‘The Peony Pavilion’ premiered in Taipei, then moved on to Hong Kong, with Suzhou as its natural next stop. Would audiences on the mainland respond enthusiastically? I wasn’t sure… until students from all over flocked to the theater—so many that even the corridors were packed—and, after the performance ended, they surged forward to take photos. Only then did I finally feel at ease, thinking, ‘It’s going to be fine.’”
On September 15, a symposium on bringing the youth‑version of “The Peony Pavilion” to universities was held at the School of Arts of Peking University. Taiwanese writer Bai Xianyong recalled the grand success of the production’s mainland premiere, which he personally oversaw. He noted that one of the primary motivations behind creating this version was concern over the aging audience for Kunqu opera. Over the past two decades, the play has been performed more than 500 times, with university venues accounting for a significant share and exerting the greatest influence, cultivating a large base of student spectators.
Bai Yong spoke first.
(Photography by Yi Haifei, China News Service)
In 2004, the youth‑oriented production of “The Peony Pavilion” made its official debut and achieved resounding success in Taipei and Hong Kong, drawing widespread attention. That same year, it was staged at Soochow University; Bai Xianyong worried that younger audiences might not fully embrace it. However, after watching a dress rehearsal, Zhu Donglin, a theater expert at Soochow University who had helped arrange the visit, remarked, “The play’s text is rich with poetic flair and is sure to be well received by students.”
Soochow University extended its full cooperation; Bai Xianyong recalls, “When the auditorium’s power was insufficient, they simply ran an extra wire; when there was no backstage area, they improvised one.” Despite the rudimentary equipment and the stagecraft that fell short of fully realizing its intended effect—“it was a very simple production”—the audience’s response far exceeded expectations. As he took his bow, he couldn’t help but exclaim, “We’ve done it!”
September 15
Symposium on Bringing the Youth Edition of “The Peony Pavilion” to Universities
Group photo of the delegates.
The Suzhou premiere was an instant hit, and the following year, when it came to Peking University, its popularity only grew—so much so that on the final day they had to add extra chairs. In 2006, the mainland university tour once again kicked off at Peking University, with two sold‑out runs; for the second round, students from the Communication University of China were specially invited, “and everyone watched with great delight.” That November, the production headed south to Guilin, the hometown of Bai Xianyong, where tickets for a performance at Guangxi Normal University were in such high demand that some students who hadn’t secured a ticket even climbed in through the restroom window. As Bai Xianyong put it, the youth‑oriented version of “The Peony Pavilion” has been met with rapturous responses wherever it goes—precisely because Kunqu opera expresses the deepest Chinese emotions in the most beautiful form.
This year, marking the 20th anniversary of its premiere, the youth‑oriented production of “The Peony Pavilion” returned to Peking University for the fifth time, drawing another sold‑out crowd. During a symposium, Zhao Hong, Director of the Center for Arts Education at Tsinghua University, remarked that the play has bridged the gap between traditional opera and young audiences, bringing the ethereal romance of talented scholars and beautiful ladies—and an enduring love story—directly into the hearts of today’s youth.
Peking University Centennial Hall
The 520th performance of the youth edition of “The Peony Pavilion” has come to a close.
(Photography by Xu Peihong)
“Events like this should keep going,” Bai Xianyong hopes, envisioning that this “Kunqu craze” will continue to sweep through campuses and among young people—just as the youth‑oriented production of “The Peony Pavilion” remains perpetually youthful.
It is a very important topic,
It will have far-reaching implications in the long term.
“In 2004, the youth‑oriented production of ‘The Peony Pavilion’ premiered in Taipei, then moved on to Hong Kong, with Suzhou as its natural next stop. Would audiences on the mainland respond enthusiastically? I wasn’t sure… until students from all over flocked to the theater—so many that even the corridors were packed—and, after the performance ended, they surged forward to take photos. Only then did I finally feel at ease, thinking, ‘It’s going to be fine.’”
On September 15, a symposium on bringing the youth‑version of “The Peony Pavilion” to universities was held at the School of Arts of Peking University. Taiwanese writer Bai Xianyong recalled the grand success of the production’s mainland premiere, which he personally oversaw. He noted that one of the primary motivations behind creating this version was concern over the aging audience for Kunqu opera. Over the past two decades, the play has been performed more than 500 times, with university venues accounting for a significant share and exerting the greatest influence, cultivating a large base of student spectators.
Bai Yong spoke first.
(Photography by Yi Haifei, China News Service)
In 2004, the youth‑oriented production of “The Peony Pavilion” made its official debut and achieved resounding success in Taipei and Hong Kong, drawing widespread attention. That same year, it was staged at Soochow University; Bai Xianyong worried that younger audiences might not fully embrace it. However, after watching a dress rehearsal, Zhu Donglin, a theater expert at Soochow University who had helped arrange the visit, remarked, “The play’s text is rich with poetic flair and is sure to be well received by students.”
Soochow University extended its full cooperation; Bai Xianyong recalls, “When the auditorium’s power was insufficient, they simply ran an extra wire; when there was no backstage area, they improvised one.” Despite the rudimentary equipment and the stagecraft that fell short of fully realizing its intended effect—“it was a very simple production”—the audience’s response far exceeded expectations. As he took his bow, he couldn’t help but exclaim, “We’ve done it!”
September 15
Symposium on Bringing the Youth Edition of “The Peony Pavilion” to Universities
Group photo of the delegates.
The Suzhou premiere was an instant hit, and the following year, when it came to Peking University, its popularity only grew—so much so that on the final day they had to add extra chairs. In 2006, the mainland university tour once again kicked off at Peking University, with two sold‑out runs; for the second round, students from the Communication University of China were specially invited, “and everyone watched with great delight.” That November, the production headed south to Guilin, the hometown of Bai Xianyong, where tickets for a performance at Guangxi Normal University were in such high demand that some students who hadn’t secured a ticket even climbed in through the restroom window. As Bai Xianyong put it, the youth‑oriented version of “The Peony Pavilion” has been met with rapturous responses wherever it goes—precisely because Kunqu opera expresses the deepest Chinese emotions in the most beautiful form.
This year, marking the 20th anniversary of its premiere, the youth‑oriented production of “The Peony Pavilion” returned to Peking University for the fifth time, drawing another sold‑out crowd. During a symposium, Zhao Hong, Director of the Center for Arts Education at Tsinghua University, remarked that the play has bridged the gap between traditional opera and young audiences, bringing the ethereal romance of talented scholars and beautiful ladies—and an enduring love story—directly into the hearts of today’s youth.
Peking University Centennial Hall
The 520th performance of the youth edition of “The Peony Pavilion” has come to a close.
(Photography by Xu Peihong)
“Events like this should keep going,” Bai Xianyong hopes, envisioning that this “Kunqu craze” will continue to sweep through campuses and among young people—just as the youth‑oriented production of “The Peony Pavilion” remains perpetually youthful.
Content reprinted from China News Service.
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