Opera Trivia | Learn the “Secret Language” of the Opera World and Instantly Become an Opera Expert (Part 4)

In stage performance, a conflict or clash is referred to as 'zhuang.' If this occurs between a supporting actor and the lead, it is invariably called a 'zhuang.' The term 'za' describes a performance that repeatedly goes wrong; when a single production is full of mishaps, people say it was 'za' — a noisy, chaotic string of blunders.

Opera | The Timeless, Melodious Lyrics of Kunqu Opera

The elegance of Kunqu opera lies in its highly literary scripts; its beauty resides in its delicate, expressive performances, its lingering, refined water‑mill vocal style, and, above all, in those exquisitely beautiful arias that stir the heart and send shivers through the soul.

Opera Trivia | Learn the “Secret Language” of the Opera World and Instantly Become an Opera Expert (Part 1)

When the performance on stage has reached its finale, yet the next act has not yet been properly staged, this is called a “break in continuity.” When, because of this break, the music continues unabated and the actors fail to appear for a long time, it is referred to as a “bright scene.”

Opera Trivia | Master the “Liyuan Slang” and Instantly Become an Opera Connoisseur (Part 3)

On stage, one asks; offstage, one answers; those who do not take the stage are said to be “setting up a frame.” As for “da tuch’er,” it refers to the punishment meted out when a junior jokingly converses with an elder—so named because the punished person’s cheeks become puffed out, and they are struck with the palm of the hand.

Opera Trivia | Master the “Liyuan Slang” and Instantly Become an Opera Expert (Part 2)

When the performance has not yet ended but most of the audience has already departed, this is called “leaving the stage.” “Opening the gates” refers to the moment when the play concludes and the audience disperses. “Hanging a seat” means being able to reserve a special seat.

Opera Appreciation | The Exquisitely Beautiful and Timeless Lines from “The Peony Pavilion”

Upon its publication, “The Peony Pavilion” was so widely read that “every household recited it by heart, to the point of driving the price of “The West Chamber” down.” From then on, Chinese romantic literature would never again produce a work that could surpass it. The play is written in elegant prose and exudes lyrical beauty; after finishing “The Peony Pavilion,” one cannot help but feel a lingering fragrance on the lips, with an aftertaste that seems to go on forever.