Art World: Volume 4

Author: Jiang Xiwu
Publisher:
Publish Date: 2006-01-01
Features: Opinions on the development of ancient opera vary greatly, and it is difficult to force consensus. As long as there are good works that the audience enjoys and do not lose the characteristics 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 working to focus on the development of this genre. This book is the fourth volume of the "Art World" series and primarily features critiques of Peking Opera performers. The selected writings are exquisite, offering unique perspectives, making it a must-read for Peking Opera enthusiasts who will benefit greatly from it. Wang Yuanhua / Also advocating for the revival of excerpts I agree with Junwei's opinions in three articles he published in the "New People's Weekly" and "Cultural News" about Peking Opera. Nowadays, few people discuss the actual development of Peking Opera; instead, it is often discussed from the perspectives of industrialization, commercialization, and fashion, without addressing its inherent value and significance. Junwei's articles precisely touch on this issue. The National Peking Opera Festival, as a nationwide performance event, has almost no traditional opera programs, with only a "Martial Opera Competition." In reality, traditional Peking Opera is a whole, with sheng (male roles), dan (female roles), jing (painted-face roles), and chou (clown roles), as well as literary and martial performances, all being indispensable. If the National Peking Opera Festival wants traditional opera to have a place, it should include excerpts as official programs. Recently, I heard a friend who has been involved in theater reform for decades advocating for traditional Peking Opera excerpts, showing that people share the same sentiments and understanding. Fortunately, we still have many Peking Opera performers and artists who have truly mastered the art and achieved great depth. Most of them have spent their lives honing their skills on stage and are still capable of performing. The audience also wants to see them, so why haven't they been given a chance to showcase their talents at the National Peking Opera Festival and meet the audience? Excerpts preserve the fundamental skills 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 discuss its development. When it comes to development, my opinion is that traditional opera should not be tampered with until we truly understand and grasp its essence and value. It is said that many traditional opera genres are now on the brink of extinction, and what is most concerning is that Peking Opera, the backbone of Chinese traditional theater after two centuries of refinement, is facing a critical juncture. I dare say this is not just my personal worry but a shared concern among those who care about the future of Chinese cultural traditions. In the past, we still had opportunities to see excerpts in theaters, but in recent years, such performances have become increasingly rare. Actors who perform traditional opera say they can't find work, while audiences who love traditional opera say they can't find shows to watch. The media is no different—such programs are either canceled or replaced with other regional operas. A television channel I used to frequently watch, which primarily aired Peking Opera, now shows more shaqiang opera instead. These shaqiang opera performances have not yet deviated from tradition, at least serving as a testament that traditional opera has not yet been completely lost, offering some comfort. The decline of traditional Peking Opera also reflects the decline of our traditional culture, and more broadly, it is a global issue. I once introduced in "Recent Works of Qing Garden" the late Professor Benjamin Schwartz's posthumous work "China and the Current Millenniumism—A Novelty Under the Sun." In the article, he mentions 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 caused a spiritual impoverishment. 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. However, here, not only has no one stepped forward to address it, but we are instead blindly following the path of consumerism and materialism, unaware of the consequences of economic reforms and the advocacy of market economies.