Art Circle. Volume 4

Author: Jiang Xiwu
Publisher:
Publish Date: 2006-01-01
Features: Opinions on the development of ancient Chinese opera vary greatly, and it is difficult to force consensus. As long as there are good works that resonate with the audience and retain the distinctive features of the genre, they should be welcomed. However, Peking Opera is currently in a precarious situation, with the younger generation seemingly less interested in this national treasure. Fortunately, there is still a book quietly dedicated to promoting the development of this genre. This book is the fourth volume of the "Art World" series and primarily focuses on critiques of Peking Opera performers. The selected writings are insightful and offer unique perspectives, making it a must-read for Peking Opera enthusiasts who will benefit greatly from it. Wang Yuanyuan / Also calling for support for the "piece play"
I agree with Junwei's opinions in his three articles on Peking Opera published in the Xinmin Weekly and the Wenhuibao. Few people are discussing the actual development of Peking Opera anymore; instead, it is often discussed only from the perspectives of industrialization, commercialization, and fashion, without addressing its intrinsic value and significance. Junwei's articles, however, tackle this very issue. The National Peking Opera Festival, as a nationwide performance event, has almost no traditional plays on its agenda, with only a "martial arts competition" as its sole traditional offering. In reality, traditional Peking Opera is a whole, with sheng (male roles), dan (female roles), jing (painted-face roles), chu (clown roles), wén (civil roles), wǔ (martial roles), kūn (Qing opera), and luàn (various styles)—none of which can be omitted. If the National Peking Opera Festival wants traditional plays to have a place, it should include "piece plays" as official programs.
Recently, I heard a friend who has worked on theater reform for decades calling for support for traditional Peking Opera piece plays. This shows that people share the same concerns and understanding. Fortunately, we still have many Peking Opera performers and artists who have truly mastered the art and achieved great depth. They have spent most of their lives honing their skills on stage and are still capable of performing. The audience also yearns to see them, yet they have no opportunity to showcase their talents at the National Peking Opera Festival or connect with the audience. Piece plays preserve the fundamental techniques of traditional Peking Opera and can be considered the essence of the art. Without them, we lose the foundation of Peking Opera, making it impossible to promote tradition or foster its development.
When it comes to development, my opinion is that traditional plays should not be tampered with until we truly understand and master their essence and value. It is said that many traditional opera genres are now on the brink of extinction, and the most concerning is Peking Opera, the backbone of Chinese traditional theater, which is facing a critical juncture after two centuries of refinement. I dare say this is not just my personal concern but a shared worry among those who care about the future of Chinese cultural traditions. In the past, we had opportunities to watch piece plays in theaters, but in recent years, such performances have become increasingly rare. Actors who perform traditional plays complain that there are no roles for them, while audiences who love traditional plays lament the lack of opportunities to see them. The media is no different—such programs are either canceled or replaced with other local operas. A television channel I once frequently watched, which primarily aired Peking Opera, now shows more shaqiang opera instead. These shaqiang opera performances have not yet deviated from tradition, serving as a testament to the survival of traditional theater and offering some comfort.
The loss of traditional Peking Opera also reflects the decline of our traditional culture, and more broadly, it is a global issue. In Qingyuan Jinzuaji, I introduced Professor Benjamin Schwartz's posthumous work, China and Contemporary Millenarianism—A Novelty Under the Sun. In it, he wrote that in today's rapidly advancing society of science and economics, people are enjoying more material comforts, leading to a consumerism and materialism that has left their spiritual world barren. This American-inspired consumerism and materialism, like a wild horse out of control, are spreading worldwide. Many visionary scholars abroad have already raised this issue. Yet here, not only do we lack voices to address it, but we are instead blindly following the path of consumerism and materialism, unaware that our economic reforms and advocacy of a market economy