Kun Opera, one of the oldest surviving Chinese theatrical genres, is often referred to as the "ancestor of a hundred operas and the master of a hundred arts." Its origins trace back to the Ming Dynasty (14th-17th century). During the Jiajing reign, artists like Wei Liangfu incorporated elements from various regional vocal styles such as Haiyan and Yiyang, enriching the Kunqu repertoire. The melodies are characterized by their graceful and melodious nature, often referred to as the "watermill tunes." Accompanying musical instruments include flutes, xiaos, shengs, pipas, as well as drums, clappers, and gongs. Kun Opera primarily focuses on performing legendary stories. It places a strong emphasis on graceful movements and expressive dances, showcasing a distinctive style. In the realm of stage artistry, Kun Opera accumulated past experiences, creating a comprehensive performance system for traditional Chinese theater. In 2001, Kun Opera was recognized as a "Masterpiece of the Oral and Intangible Heritage of Humanity" by UNESCO.
Kun Opera, originally known as "Kunshan qiang" or "Kunqiang," had its beginnings in Kunshan, Jiangsu, during the late Yuan Dynasty. It was one of the four major regional operatic forms during the Ming Dynasty, alongside the Haiyan qiang from Zhejiang, the Yuyao qiang, and the Yiyang qiang from Jiangxi, collectively forming the southern operatic system. Initially, it was a folk singing style, limited to the Suzhou region. However, during the Wanli era, it expanded its influence south of the Yangtze River and north of the Qiantang River. It even reached Beijing by the end of the Ming Dynasty. This expansion solidified Kun Opera as one of the most influential vocal styles from the mid-Ming period to the mid-Qing period.
Kun Opera is an art form that epitomizes traditional Chinese aesthetics, characterized by its lyrical, expressive, symbolic, and poetic qualities. It excels in conveying intricate emotional landscapes through the simplest and most unadorned expressions. In the world of performing arts, where operas may have songs without dance, and ballets may have dance without songs, Kun Opera stands out as a rare and complete artistic form. What truly touches the hearts of its audience is the profound sense of beauty it imparts.
"Without sound, there's no song; without movement, there's no dance." Kun Opera is rich in techniques and conventions, where elements like gaze, vocal performance, and movements are punctuated with pauses and meticulously executed. It adheres to the principle of conveying intricate emotions through minimalist forms. Take, for instance, the use of gaze. Gaze control in Kun Opera is exquisite; it flows effortlessly, with pauses that add depth. The performers avoid excessive staring and focus on delivering meaningful pauses in their gazes, infusing them with the essence of the character and the scene. Additionally, the psychological aspects of the characters should be expressed, and varying vocal volumes are employed to suit the character's disposition. Kun Opera utilizes a diagrammatic style of movement rather than elaborate dance sequences, enhancing the performance through subtle gestures, ensuring that emotions are conveyed effectively.
In the modern and contemporary Chinese opera scene, Kun Opera is often referred to as the "Master of a Hundred Arts," reflecting its profound influence on other opera genres. During the mid-Qing Dynasty, a multitude of regional operatic styles emerged across China, collectively known as "Luan Tan" or "Hua Bu" (literally meaning flower style). In contrast, Kun Opera was categorized as "Ya Bu" (literally meaning elegant style). This era witnessed a notable rivalry known as the "Hua Ya Zhi Zheng" (the conflict between flower and elegant styles).
Over time, the "Hua Bu" styles gradually gained dominance in the market, each evolving into distinct operatic forms. Nevertheless, they invariably drew inspiration from Kun Opera, adopting its performance techniques, stage conventions, and even incorporating Kun Opera's repertoire, music, and staging elements. For example, Peking Opera troupes used the standard of "Kun Luan Bu Dang" (cannot compare to Kun or flower styles) to assess an actor's proficiency. Peking Opera extensively integrated Kun Opera's musical melodies, such as "Tiao Hua Che" (The Flirtation) and "Qiu Jiang" (Autumn River). Opera actors often invited Kun Opera teachers to provide training in foundational performance skills.
This enduring influence solidifies Kun Opera's legacy as a foundational and revered art form in the world of Chinese opera.
In summary, Kun Opera's status as one of the most outstanding "Representative List of the Intangible Cultural Heritage of Humanity" is well-deserved due to its excellence. Its profound literary achievements, unique vocal system, comprehensive performance techniques, and the profound and extensive influence it has had throughout history all attest to the fact that Kun Opera rightfully stands at the pinnacle of world theatrical arts.
