Old, But Not Died

(In the last edition of Nanjing Today, we introduced China’s oldest traditional opera form and the great difficulties that it has faced during its development. Today, we introduce the ways in which this elegant style of opera has developed over the last few years. )

The time: six years ago. The place: the auditorium of Nanjing University. On the stage, an excellent rendition of a Kun Opera was gradually unfolding. In front of the stage was an audience of over 3000 students, all enraptured by the story being played out in front of their eyes. To bring Kun Opera to university students is just one attempt by the Jiangsu Kun Opera Troupe to increase the popularity of this ancient art form.

When asked to talk about events such as this, there is a note of excitement in the voice of the troupe’s director, Shao Kaijie. He explains that the characteristics of Kun opera mean that it is preferable for the audience to be well educated. In Nanjing, there are hundreds of thousands university students, providing a sizeable potential market for the exponents of Kun opera.

“To further develop the Kun opera, we must tap into new areas of the market, especially amongst young people. If not, this art form – which is, after all, a performance art - will become little more than a stale museum exhibit. We hope to avoid such an outcome.”

Since 1995, the Jiangsu Kun Opera Troupe has launched a movement to bring Kun Opera to students. They have delivered performances in all universities in Nanjing , as well as in many universities elsewhere on the mainland, and in Taiwan. Everywhere the troupe goes it invariably receives great public acclaim. But such achievements were almost unthinkable just a few years ago.

Kun opera was not always as popular as it is today. Ten years ago, the Jiangsu Kun Opera Troupe was in great financial difficulty, facing a declining market and dwindling income. At that time, the troupe had only ten to twenty performances a year, compared with their current rate of between 80 and 90. With such a bleak future, many actors and actresses wanted to leave their profession. This inevitably raised the question: does this art form have a future?

But Shao Kaijie continued to have faith in the opera:

“As many people in the circle say, the Kun Opera is old but has not died; it has been weakened but has still managed to survive. It’s so rich in content, and so vigorous in style!”

Shao Kaijie says that the Kun opera can be considered as the forefather of all of China’s traditional operas. Though its audience may be somewhat limited at present, to say that its market has vanished completely is utterly absurd.

“In view of the current situation and taking into account Kun Opera’s unique characteristics, we decided to tap into three separate markets — the university market, the tourist market and the international market.”

Thanks to the troupe’s efforts, it is now possible to see performances in a number of tourist spots in Nanjing. Over the last few years, the troupe has also visited many countries with performances of their Kun Opera.

Now, the troupe’s actors and actresses are no longer considering changing careers. They have great confidence in the art to which they have dedicated their professional lives. Kong Ai’ping plays major female roles in the troupe.

“Our current achievement has sprung from the older generation’s love for Kun Opera. They have made great efforts to preserve and develop it. Now there is much promise and hope for the future of the art form. I believe it will continue to grow in prosperity and popularity.”

Through the concerted efforts of the troupe, Kun opera is indeed starting to regain some of its former popularity. To the delight of all those involved with the art form, this trend has not only manifested itself in Nanjing, but also throughout the country and even throughout the world.