In the melodious "Shuimo" singing style, young Kunqu opera performers from Zhejiang and Jiangsu took the stage together, their youthful energy subtly refreshing perceptions of this 600-year-old art form. On the evening of December 12, a joint performance of "The Peony Pavilion" by the Zhejiang Jingkun Art Center (Kunqu Opera Troupe) and the Jiangsu Performing Arts Group Kunqu Opera Theater was staged in Hangzhou. This collaboration between rising talents from both regions not only represented cultural exchange within the Yangtze River Delta but also served as a vivid example of how this intangible cultural heritage is being revitalized in modern times.
The performance was both a collaboration and a friendly competition. Hu Ping, a "Wan" generation actor from Zhejiang, admitted that while rehearsals were harmonious, everyone aimed to showcase their best, fostering mutual observation and learning. Shi Xiaming, director of the Jiangsu Kunqu Opera Theater, described the event as "both a partnership and a contest," where proximity to peers from sister troupes naturally pushed young performers to strive for higher standards. Such cross-regional interactions are not new in Kunqu circles, given the deep artistic ties between Jiangsu (the birthplace of Kunqu in Kunshan, Suzhou) and Zhejiang (home to China’s first professional Kunqu troupe, established in 1956).
Kunqu opera, renowned for its refined dialogue, delicate singing, and nuanced acting—particularly its "Shuimo" style—was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2001 and later included in the broader list in 2008. The competitive yet collaborative model reflects a contemporary strategy for keeping the ancient art alive, breaking down isolated training systems and motivating young actors through peer benchmarks.
Behind the scenes, the performance highlighted deeper questions of heritage. Kunqu, often called the "ancestor of Chinese theater," relies on effective talent cultivation. Zhejiang’s troupe featured standout young actors like Fang Tingyu and Wang Hengtao, while Jiangsu’s troupe showcased members of its "Fifth Generation," including He Xinyue and Li Jingyang. In Jiangsu, mentorship ("passing, helping, and guiding") is deeply ingrained, ensuring artistic excellence flows across generations. For newcomers like Wang Hengtao, a "post-95s" actor, mastery involves more than imitation—it demands personal interpretation, as seen in his nuanced portrayal of Liu Mengmei in "The Peony Pavilion."
The future of Kunqu hinges not only on performers but also on attracting younger audiences. Historically, Zhejiang’s "Fifteen Strings of Cash" revived the genre; today, social media offers new avenues. Actors like Tang Jiani from Jiangsu have drawn peers into Kunqu through behind-the-scenes content. Market data is encouraging: Jiangsu’s troupe alone staged over 70 major performances in 2025, signaling recovery.
Looking ahead, Kunqu practitioners balance tradition and innovation. Core elements like the "Shuimo" style and classic scripts remain sacrosanct, while fresh approaches—from digital outreach to inter-regional partnerships (e.g., Zhejiang’s Yongjia and Jiangsu’s Kunshan)—ensure relevance. As "The Peony Pavilion" flourishes anew in young hands, this cross-provincial performance underscores Kunqu’s confident, open embrace of modernity—rooted in history, yet singing boldly forward.
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