“When the curtain rises, it’s often unclear which opera genre is being performed—sometimes even after watching the entire show.” This sentiment was voiced by Shen Yong, Chairman of the Zhejiang Provincial Literary and Art Critics Association, during a seminar titled “Preserving Tradition and Fostering Innovation: Pathways for the Inheritance and Development of Chinese Opera in the New Era.” The event, co-hosted by the Shanghai Literary and Art Critics Association and the Shanghai Academy of Social Sciences, highlighted the growing issue of homogenization in Chinese opera innovation and development, sparking widespread agreement among experts.
Rong Guangrun, a professor at the Shanghai Theatre Academy, emphasized that no art form can thrive without individuality—a principle especially critical for Chinese opera. He noted that China’s 348 opera genres, ranging from the 600-year-old Kunqu to the 200-year-old Peking Opera, each possess unique aesthetic systems and cultural identities. While some regional operas may lack the influence of Peking or Kunqu Opera, they remain distinct artistic expressions. The foundation of preserving and innovating opera, Rong argued, lies in understanding and amplifying each genre’s individuality rather than suppressing it. Losing uniqueness, he warned, would mean the demise of opera itself.
As an experienced observer and critic, Rong pointed out a recent trend: opera increasingly blends with musical theater in themes and styles, while stage directors from other disciplines introduce dramatic techniques, sometimes reducing opera to “drama plus singing.” This shift has led to dwindling audience enthusiasm for supposedly “innovative” productions. To counter homogenization, Rong stressed the need to respect and highlight the distinctiveness of each opera genre, ensuring their vibrant presence on stage and in global culture.
Cao Lingyan, a senior editor at the Shanghai Art Research Center, admitted that despite watching countless performances annually, few leave a lasting impression. Many productions boast flawless structure, stunning visuals, and even superior vocal talent compared to legendary predecessors—yet they lack artistic individuality, blurring genre distinctions and leaning toward symphonic music, dance-like performances, and extravagant stage designs. For Cao, individuality is not just the lifeblood of opera but also crucial for its survival and cultural continuity. She urged creators to balance tradition and innovation, immerse themselves in real-life experiences, and infuse works with genuine emotion and imagination to revive opera’s vitality.
Zheng Chongxuan, Deputy Director of the Shanghai Academy of Social Sciences’ Institute of Literature, noted in his recent research that homogenization is particularly pronounced in new productions. He attributed this to a talent shortage, with the same playwrights, directors, and designers frequently working across different genres, leading to increasingly similar plots, themes, stagecraft, and even vocal styles.
Experts from Beijing, Shanghai, Zhejiang, Fujian, and Guangdong participated in the seminar, collectively advocating for a return to opera’s diverse roots to ensure its enduring legacy.
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