| Summary: | 碩士 === 國立中央大學 === 中國文學系 === 101 === This paper aims to compare Ming playwright Wu Bing’s operatic text, Green Peony (from Wu’s collection of plays, Five Operas of Can Hua Villa) to its contemporary Beijing opera adaptation and kunqu restaging, in order to examine the text’s literary and artistic value.
Wu’s text has long been lauded by literary critics as “excellent both in reading and in performance,” “first-rate amongst Ming drama” and “the best of all Ming chuanqi texts.” Sinologist Aoki Masaru pointed out the verisimilitude of dialogue and the intricacy of the plot in Green Peony, comparing it to other comedic chuanqi works of its time and praising the text for its profound portrayal of human nature, lively characters, elegant poetry and unique sense of humor.
The huabu rose and the kunqu fell around the Kang Xi and Qian Long Dynasty. Since then the records of performing Green Peony disappeared until Green Peony is adapted into Beijing opera and performed by actor Zhang Junqiu in 1962. Green Peony became part of Zhang’s repertory and is well loved by the audience for its lighthearted humor.
In 1996, playwright Guo Qihong rediscovered the text in its kunqu form, revised and trimmed its plot and songs, and entrusted the Jiangsu Provincial Kun Opera Theatre to stage it at the Suzhou Kunqu Festival in 2007 and 2008.
By exploring the theatrical expressions, plotlines and artistic applications of the chuanqi text, the Beijing opera adaptation and the modern kunqu restaging, this study traces the evolution of Green Peony, hoping to analyze the merits, quality, characteristics and value of all three works.
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