Kunqu Opera
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Summary
Editor's review
The value of this book lies in its balanced perspective. It affirms Kunqu's lofty status as a UNESCO Intangible Cultural Heritage of Humanity while objectively discussing the challenges and opportunities it faces in contemporary society. The book's appreciation of classic plays such as The Peony Pavilion, The Palace of Eternal Life, and The Peach Blossom Fan does not discuss literature in isolation but closely integrates stage presentation, guiding readers to experience the aesthetic of "every word sung, every movement danced." For readers who wish to gain a deeper understanding of traditional Chinese opera culture, especially those hoping to systematically build a knowledge framework of Kunqu, this book offers an excellent starting point. It is rich in material and plain in exposition, avoiding overly abstruse academic research while ensuring accuracy and depth of content—reflecting the standard expected of an excellent popular work in the editor's view.
Who it's for
A good fit for
- Beginner readers curious about and interested in traditional Chinese opera culture, especially Kunqu art
- Literature and history enthusiasts who wish to systematically understand Kunqu's historical origins, artistic characteristics, and classic repertoire
- Professionals in culture, arts, or education who need a foundational knowledge of Kunqu
- Audience members who wish to gain deeper interpretation and background knowledge before or after attending Kunqu performances
Not a good fit for
- Scholars seeking extremely in-depth professional academic research or technical analysis of scores and vocal techniques
- Readers seeking pure entertainment who only want to read play stories or look at picture albums
Reading tips
- It is recommended to first read through the historical narrative to establish a timeline, then delve into chapters on specific artistic characteristics
- Readers may combine the classic plays mentioned in the book with related stage performance videos for a more intuitive experience
- While reading, pay attention to Kunqu's interaction with Ming-Qing social culture and literati life to gain a more three-dimensional understanding
About the publisher
Chongqing Publishing House is a comprehensive publisher known for its titles in the humanities, social sciences, literature and arts, with about 940 books in its catalogue. Its publishing areas cover world history, science fiction, foreign literature, architecture and philosophy. Representative titles include Xiang Da's A History of Communications Between China and the West, Liang Sicheng's Rules of Qing-Style Construction, Liu Cixin's The Three-Body Problem II: The Dark Forest and III: Death's End, Ann Rand's The Fountainhead (25th Anniversary Edition), and Brandon Sanderson's Stormlight Archive series. Its authors include Xiang Da, Liu Cixin, Liang Sicheng and Ann Rand. The press has developed distinctive strengths in historical source editing, the introduction and creation of science fiction, the translation of foreign literature, and architecture and philosophy titles, balancing scholarly value with general readership. As public information is limited, this profile outlines its publishing directions based only on the books in the catalogue.
Contents
- 版权信息
- 前言
- 引子
- 中数外百大年地间流布
- 由昆曲到昆剧的伟大征程
- 荣辱沉浮、绵延不绝， 一脉生机维系于民间
- 二百年间千娇百媚， 独享鼎盛尊荣
- 走向新时代， 昆曲昆剧踏过坎坷， 迎来了历史上的最佳机遇期
- 底蕴深厚的旷世剧作
- 丰厚的家底， 艰难的保存
- 灿烂的明清传奇， 人类文明的瑰宝
- 不到园林，怎知春色如许 ——昆剧文本宣介
- 美轮美奂的表演艺术
- 你侬我侬，君心吾心 ——为世态人心造像
- 形形色色，画虎画龙 ——流韵的神形内在的风骨
- 娉娉婷婷，惟妙惟肖 ——撩拨心弦的技巧与蚀骨镂神的韵致
- 璀璨星河大师云集
- 金派唱口 俞家唱 徐家做
- 传字辈时代 昆弋先辈
- 首批国家级传承人
- 昆剧新生代
- 参考书目
FAQ
Is this book suitable for readers with no knowledge of opera at all?
Does the book contain many technical terms that would be difficult to understand?
How is this book different from Kunqu appreciation books?
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About the author
Wang Ruohao is an author for whom limited public information is available. Only one work by this author is currently included in the database, namely Kunqu. According to the available information, this work is classified under film and television, suggesting that the writing may focus on how Kunqu, a traditional Chinese opera form, is presented, disseminated, or adapted in film and television media, rather than being a purely textual study of the opera itself. Kunqu is known as the "ancestor of a hundred operas," with elegant librettos and strict conventions; combining it with film and television usually involves issues such as stage documentation, cinematic expression, and audience reception. Because more reliable materials are lacking, the author's specific identity, research background, and writing orientation on this subject cannot be described in detail at present. Readers interested in the intersection of traditional opera and film and television may regard this book as a point of reference; its scholarly weight and actual influence would still need to be judged in light of the book's content and further public commentary.
