4.3.2. "Search for the Dream", a scene from The Peony Pavilion: disappointment

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From the course by The Chinese University of Hong Kong

The Beauty of Kunqu Opera

110 ratings

The Chinese University of Hong Kong

The Beauty of Kunqu Opera

110 ratings

This course will focus on the historical and cultural background, literary aesthetics, music, and performance of Kunqu, China’s classical opera. After viewing the lecture videos presented by scholars and renowned maestros in the field of Kunqu, students’ understanding and appreciation of Chinese performing arts, classical literature and traditional culture will be enhanced.

From the lesson

The Art of Kunqu Performance: the Female Role-Type

The female role-type is another prominent role-type of Kunqu and can be divided into a number of subtypes. In this week lively lectures and demonstration by Maestros Zhang Jingxian (mature female), Zhang Jiqing (young noble lady), Liang Guyin (vivacious young female) and Wang Zhiquan (martial female) will show us the charisma of the diversified female characters on the Kunqu stage from Chinese classics such as The Lute, The Peony Pavilion and Journey to the West.

4.3.1."Search for the Dream", a scene from The Peony Pavilion: imaging the romantic mindset of a young woman18:44

4.3.2. "Search for the Dream", a scene from The Peony Pavilion: disappointment13:54

Meet the Instructors

Prof. Wei Hua 華瑋
Professor and Division Head
Department of Chinese Language and Literature
Prof. Kenneth Hsien-yung Pai 白先勇
Wei Lun Professor of Humanities
Faculty of Arts
Prof. Lindy Li Mark 李林德
Professor Emerita
Anthropology

The third aria is “Jade branches”.

In the aria “Jade branches” her mood changes from hope to despair:

also using eye expression, movement, and voice.

Using these actions to portray this section.

While singing the last line of “Yellow bean leaf” (previous aria)

“…my dreaming soul in turmoil”.

Look at the fan…

the mood changes with the drop (of the fan).

“…my dreaming soul in turmoil.” She looks around.

The surrounding is not right; it changed.

“Searching all over, everything has disappeared.

That peony pavilion, herb peony railing…

such desolation, no sign of anyone.

So sad.”

The voice seems to get stuck,

tears are about to fall.

The young girl is alone here,

her dreams, her desires, are not here.

She can’t find them, she is heartbroken.

My voice is not good now, I can’t make that feeling.

Should be like this: a little stuffy feeling.

“Searching all over, everything has disappeared.

The peony pavilion, peony lattice… so sad.”

There is a sobbing feeling.

Then, “This place is…” matching movement to her emotions.

“ever so…” pulls out the fan,

then “ever so desolate;” waves it on both sides.

“desolate place.” Before this point the fan was always moving upward.

Now the fan is moving down.

…then, close the fan… this kind of feeling.

“No pavilions on either side.

Are my eyes so dazed that I cannot see…

Even in broad daylight under a blue sky.

I cannot recapture what appeared in dream.

Just then so real and alive.

Pacing about, I linger.

Oh, this is where my golden bangle was bent.”

This is the aria... Thank you.

On the one hand, she cannot find her dream;

on the other, it seemed that I was really speaking with him here.

This part should be made clear:

the change in emotion,

using the voice, eyes, and action.

“…on the side…” here one must express this feeling.

“…pavilion on the side, are my (eyes)…” a <i>cloud hand</i> movement…

“…my eyes dazed that I cannot see…” points to stage center.

The stage blocking must be made clear.

You are in the garden, you have to make it clear

because there are no scenic props on stage.

You must confirm it by your action.

“Young scholar, young scholar”…

as if you clearly remember he is right there beside you.

You must immerse yourself in the role.

“Young scholar, young scholar”… nothing there, empty.

You are there alone. Now the percussionist will give you a hand.

Turn, walk a big “circling the stage”.

“…in this lonely spot, I see a tall flowering plum tree”.

She sees the plum tree…

Now she must confirm the plum tree on the stage.

Its location, you cannot have it in front one day,

in back another. You can’t move it around.

You have to fix it in one place.

Therefore, your eyes, you must fix your gaze,

then move over and go around the tree,

look at the tree, this place, this position.

“Look at the clusters of plums…” turns around.

circling around the tree: “…how lovely.”

Then almost sobbing: “If I can be buried here after I die…”

throws herself on the tree, flips both sleeves,

“how fortunate…” small quick steps,

and begins to sing “River waters”

“Suddenly…” she is leaning on the tree,

holding onto the tree, slowly move the hand down.

“My heart is drawn to this plum tree.” Two flips of the water sleeves (thus).

“Flowers, grasses, bid me stay.

Living or dying, let me be.

Sad or troubled, none to reproach.

Only to mingle with another soul.

on a rainy day in plum blossom season.

Alas, you…”

Move like this where you are…

half of the stage,

“Alas, my love…” turn around.

She sees the plum tree.

“I wait by the base of this tree” toss sleeve, toss both sleeves;

“Until we meet” embrace the tree.

Holding on tightly.

This plum tree is her only hope.

After she dies, she must be buried here.

She treats it as a person; to be together with him (it).

Where are you? My love….

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