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.
Record of the Tang Xianzu Cultural Communication Symposium and the “Du Liniang’s Homecoming to Visit Relatives” Gala
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2016-12-30
Tell the world a compelling story about “Tang Studies.”
— Notes on the Tang Xianzu Cultural Communication Symposium and the “Du Liniang’s Homecoming to Visit Her Relatives” Gala
In 2016, it marked the 400th anniversary of the passing of the renowned Chinese dramatist Tang Xianzu. To commemorate this literary giant, Fuzhou, Jiangxi—the birthplace of Tang Xianzu—hosted a series of commemorative events this year. The 2016 International Theatre… was co-organized by the China Literary Critics Association, the China Academy of Traditional Chinese Opera, and the People’s Government of Fuzhou City, Jiangxi Province.
The Symposium on the Cultural Dissemination of Master Playwright Tang Xianzu and the “Du Liniang’s Homecoming to Visit Relatives” Gala were held in Fuzhou on December 20 and 21, further advancing the research, inheritance, and widespread promotion of Tang Xianzu’s cultural legacy.
Each theatrical genre presents Du Liniang in her own unique splendor.
When it comes to the beauty of Du Liniang in Kunqu Opera’s “The Peony Pavilion,” no one fails to praise her. Yet, Du Liniangs from other Chinese opera genres remain seldom seen by the public, let alone the prospect of bringing together Du Liniangs from different styles and versions on the same stage. On December 20, this auspicious occasion unfolded at the Tang Xianzu Grand Theater in Fuzhou, Jiangxi Province.
The theater is hosting the “Du Liniang’s Homecoming and Ancestral‑Veneration Gala.”
This gala brought together a diverse array of opera genres, including Kunqu, Peking Opera, Yue Opera, Sichuan Opera, Huangmei Opera, Gan Opera, and Xuhé Gaoqiang, while also showcasing excerpts from the Central Ballet Troupe’s ballet, the Shanghai Dramatic Arts Centre’s Sino‑British physical theatre piece, and the Sino‑American co‑produced stage adaptation of “The Peony Pavilion.” Each performance offered a distinct artistic style.
The image of Du Liniang—both exotic and equally radiant—has won the acclaim and appreciation of local audiences, with many seasoned opera aficionados eagerly savoring and commenting on the unique beauty of each portrayal.
Xie Bailiang, Director of the China Literary and Art Criticism Base and Head of the Department of Dramatic Literature at the China Academy of Traditional Chinese Opera, stated that this performance marks the first-ever large-scale, comprehensive presentation of Tang Xianzu’s works by major theatrical traditions from both China and abroad.
“After watching the performance, I was deeply moved. I grew up in a theater troupe and first stepped onto the stage at the age of 12. To this day, I’ve never seen such a creative show—it’s truly remarkable!” said Gong Guoguang, a researcher at the Jiangxi Academy of Social Sciences. “That actor even sang using the style of the Peking Opera piece ‘The Noble Consort Drunk on Wine’…”
“The musical forms, and the seamless integration between the rhythmic patterns and the melodic modes—truly rare.”
Zhang Hongxing, Deputy Secretary of the Fuzhou Municipal Party Committee and Mayor, praised the performances by the nine Du Liniang actors at their “home base” as truly outstanding. “Tang Xianzu is both a figure of history and a contemporary icon; he embodies both refined artistry and popular appeal; he is rooted in national culture yet resonates on the global stage. As Tang Xianzu’s hometown, Fuzhou should naturally take the lead in promoting and enriching the legacy of Tang Xianzu.”
“Has made significant contributions to the academic cause and to the inheritance and promotion of Tang Xianzu’s cultural legacy.”
The inheritance of artistic forms should be diversified.
Although several musical genres in China today are promoting the cultural legacy of Tang Xianzu, many experts still contend that these efforts fall far short. Zhao Jianxin, deputy director of the Chinese Literary and Art Criticism Base, points out that, when comparing commemorative events for Shakespeare and Tang Xianzu, it is readily apparent that, whether in terms of the diversity of performance formats or the works…
With its rich diversity of interpretations and adaptations, Shakespeare’s plays have traveled far beyond the reach of Tang Xianzu’s operas, exerting a broader and more profound influence. “This September, the opera Macbeth made its debut at Beijing’s National Centre for the Performing Arts, its dazzling stage design leaving audiences in awe. Shakespeare’s works can indeed be brought to life through such cutting-edge artistic forms.”
“Surprisingly,” said Zhao Jianxin, “there are countless adaptations of Shakespeare’s works, yet adaptations of Tang Xianzu’s plays have not garnered comparable attention—there must be deeper reasons behind this disparity.”
As for adaptations of Tang Xianzu’s works into other art forms, there have indeed been several such productions in China already, but most of them were short-lived. According to Jiang Tonglin, executive vice president of the Chinese Society for Dramatic Literature, Beijing has already seen four small‑theater opera or drama productions based on his works—among them, the experimental opera “Returning to Life.”
“San Die,” the youth‑oriented play “The Peony Pavilion,” the Kunqu opera “Once Three Dreams,” and the experimental drama “Dream Chasers.” Among these four works, only one was produced by a state‑owned institution; the other three were all created by private‑sector companies. Jiang Tonglin pointed out that, for various reasons, this kind of artistic exploration has yet to take shape.
A wave of enthusiasm, yet awareness remains limited. He hopes that, through this year’s initiatives, state-owned performing arts troupes will join in, pool their resources to explore this area, and sustain these efforts over the long term.
Emphasize outreach beyond the theater.
For a work to enjoy a broad popular base, in addition to its intrinsic quality, its promotional efforts must not be overlooked. Pan Naiqi of the Chengdu Sichuan Opera Theatre notes that, in the information age, opera troupes must prioritize outreach, marketing, and promotion beyond the theater—actions that are crucial to establishing and disseminating the Tang Xianzu cultural brand.
And thorough investigation will be of great benefit.
In fact, in many grassroots regions across China, traditional opera enjoys a strong influence, and there is no shortage of audience at all. “How widespread is it? In areas like Leping and Jingdezhen in Jiangxi Province, Raohe Opera is extremely popular—so much so that even when a single county dispatches more than twenty private troupes to perform in rural villages, demand still outstrips supply.” Nanchang Da…
Professor Xu Aizhu of the School of Journalism and Communication stated. She pointed out that this theatrical genre enjoys widespread popularity because its content is closely tied to everyday life, particularly to folk traditions. “Opera has always emerged from the soil of the people, possessing a vibrant vitality. Consequently…”
“Restoring the grassroots opera ecosystem is also of paramount importance.” (Zhang Ting, our reporter)
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