Peach Blossom Fan - Shangren
James Tugman
IB2 Upper Canada College
Candidate Number: 838-0136
IB2 Upper Canada College
Candidate Number: 838-0136
The Peach Blossom Fan (also known as Kunqu) is nationalist Chinese opera written in 1699 by playwright Kong Shangren after 10 years of effort. It is widely considered as one of the most nationalist plays of China in the past five centuries. The play follows the Ming dynasty collapse of 1644 by focusing on two young lovers: Hou Fangyu, and Li Xiangjhun. The two major protagonists are separated and brought together by major political and militaristic events occurring during the Ming Dynasty (1368-1644).
Below is a video of the Peach Blossom Fan in its entirety
Chinese operas do not follow the conventional western opera classification system of being an opera serio or opera buffa. However, the serious subject matter is often juxtaposed throughout the play by strange and flamboyant costume design (by western standards) making it difficult to determine Shangren’s intended mood.
For example at 2:15 the opera introduces a young girl playing the narrator with a long beard (seen in the image on the left). She serves to give context on both on the play and the plot, stating, “nothing was invented”. Facial makeup also plays a huge role on character design. Characters with very angular eyebrows for
example represents an angry character.
For example at 2:15 the opera introduces a young girl playing the narrator with a long beard (seen in the image on the left). She serves to give context on both on the play and the plot, stating, “nothing was invented”. Facial makeup also plays a huge role on character design. Characters with very angular eyebrows for
example represents an angry character.
In Chinese operas such as this, music is used sparingly so that the audience can listen carefully to the dialogue. Furthermore, the instrumentation used, has a much larger focus on string and wind instruments.
The Yueqin for example is considered the “Chinese Lute” and is used frequently in Chinese Operas for many of the same reasons. The Sheng is a prominent wind instrument that predated that the flute, sharing several mechanical elements such as materials and tubing as well as musical elements such as tambre and volume.
Instruments such as the Yueqin and the Sheng are instrumental cornerstones in melodies, while more percussive instruments such as cymbals and woodblocks are used during dialogue. An example of this is at 51:15. Interesting modal harmonies can also be created by the use of symbols, as demonstrated at 1:20:40. In addition, these percussive instruments can be used to facilitate in on-stage changes to the set or character entrances/exits as shown at 52:15.
The Yueqin for example is considered the “Chinese Lute” and is used frequently in Chinese Operas for many of the same reasons. The Sheng is a prominent wind instrument that predated that the flute, sharing several mechanical elements such as materials and tubing as well as musical elements such as tambre and volume.
Instruments such as the Yueqin and the Sheng are instrumental cornerstones in melodies, while more percussive instruments such as cymbals and woodblocks are used during dialogue. An example of this is at 51:15. Interesting modal harmonies can also be created by the use of symbols, as demonstrated at 1:20:40. In addition, these percussive instruments can be used to facilitate in on-stage changes to the set or character entrances/exits as shown at 52:15.
For those looking for more Yueqin or Shen music to listen to, here are a few videos.
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An exclusive element that Chinese operas utilize liberally is reliance on the pentatonic scale. At 1:20:27 there is a female vocalist the amount of rhythmic liberty the actors have with their melodic lines. These lines use modal harmony (using the Chinese mode) for the most part with slight augmentation due to cadences being fitted for the pentatonic scale.
This is demonstrated at 2:14:00 where Shangren creates tension with the use of a dominant chord played by both the vocalist and ensemble, but failing to resolve the line.
Musician placement is much different than western operas. Western opera places its musicians under the apron that makes them invisible from the audience. By doing so, the audience can focus on the plot and the singing of the performance, which means that they can be fully hypnotised by the dramatic illusion created in front of them. Chinese Opera asks its musicians to be present with all other performers on the stage. They are usually positioned on the wings of the stage. Though musicians are not performing the story, their musical performance is part of the show. Both pieces also have a narrator to help give context on current events. In L’Orfeo, this takes the form of a choir while in The Peach Blossom Fan, it is a single female vocalist.
This is demonstrated at 2:14:00 where Shangren creates tension with the use of a dominant chord played by both the vocalist and ensemble, but failing to resolve the line.
Musician placement is much different than western operas. Western opera places its musicians under the apron that makes them invisible from the audience. By doing so, the audience can focus on the plot and the singing of the performance, which means that they can be fully hypnotised by the dramatic illusion created in front of them. Chinese Opera asks its musicians to be present with all other performers on the stage. They are usually positioned on the wings of the stage. Though musicians are not performing the story, their musical performance is part of the show. Both pieces also have a narrator to help give context on current events. In L’Orfeo, this takes the form of a choir while in The Peach Blossom Fan, it is a single female vocalist.