Chinese Kunqu Musical Theater Traditions in the Opera “Peony Pavilion” by Tan Dun
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Abstract
The article considers the reflection of the Chinese traditional musical theater kunqu (昆曲) peculiarities in Tan Dun՚s opera “Peony Pavilionˮ (牡丹亭, 1998) at the level of plot, stage design, acting, costume, musical language, instrumentation, vocal techniques. The emergence of kunqu, the fate of this theater in the XX century has been considered. Kunqu is noted to have its own unique performance system and style, the distinctive features of which are soft, smooth movements, a harmonious combination of singing and dancing special style. The article reveals the composer՚s participation in producing authentic kunqu performances, emphasizes the importance of his personal experience in the traditional theater. The main peculiarity of the opera “Peony Pavilionˮ is the combination of the kunqu theater principles, Western opera and instrumental theater. At the same time, the composer’s understanding of the peculiarities of the kunqu theater is obvious.
The author of the article, being master of the vocal art, pays special attention to the peculiarities of vocal techniques combination: bel canto and kunqu in the Tan Dun’s opera.
Keywords: Tan Dun, Chinese opera, kunqu, Peony Pavilion, vocal techniques, singing style, organic music.
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