For Pai, there is a reason why Kunshan was the birthplace of Kunqu Opera. "It's just like Western opera was born in Italy because the Italian language is rhythmic. Kunqu Opera was born in Kunshan because of the local dialect's musicality and expressiveness," he says.
In 2008, UNESCO inscribed Kunqu Opera on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2001). This recognition put Kunqu Opera in the international spotlight at the same time as it began to experience a domestic revival. The youth edition of The Peony Pavilion was the fruit of a collaboration between the Suzhou Kunqu Opera Theater of Jiangsu and Pai. Premiering in Taipei in 2004 and staged at Peking University in 2005, the production has been considered a major contributor to the development and revival of the art form.
With more than 500 performances across the Chinese mainland, Hong Kong and Macao, as well as in countries such as Greece, the United Kingdom and the United States, it has been watched by a combined worldwide audience of about 800,000. The shows were also staged at more than 40 Chinese universities at that time, which allowed Kunqu Opera to witness a surge in popularity, especially among young people.
In 2006, 2009 and 2016, the production returned to Peking University with shows and workshops. In 2009, appealing to the rising number of Kunqu Opera lovers, Pai, along with the university, initiated and launched a project, Inheritance Program of Kunqu Opera, to train young amateur fans. The school also launched an elective course on the art form, which, according to Peng Feng, dean of the university's School of Arts, is one of its most popular courses among students.
Born in Guilin, South China's Guangxi Zhuang autonomous region, Pai moved to Shanghai with his family during wartime and later settled in Taiwan. He recalls that his enthusiasm for the art form started at the age of 9 when he watched a performance by Peking Opera masters Mei Lanfang (1894-1961) and Yu Zhenfei (1902-93) in Shanghai in 1946.
"I can still remember that performance, an excerpt, The Interrupted Dream, from The Peony Pavilion, that is still widely performed today. Because of the two Peking Opera artists' fame, tickets sold out fast and the audience was excited," Pai says.
"People had been looking forward to Mei's return and the show was phenomenal," Pai adds. During the War of Resistance Against Japanese Aggression (1931-45), Mei, who specialized in nandan (man performing female roles), stopped performing for eight years, refusing to entertain the invaders and growing a moustache to show his determination. Nandan roles are a practice forged in feudal times when women were forbidden to take the stage.
