A renewed conception of the aesthetics of kunqu opera in the work of Ke Jun

Lyui Qianhao ORCID: 0009-0000-6995-1304 Postgraduate student; Department of Arts; Lomonosov Moscow State University 125009, Russia, Moscow, Bolshaya Nikitskaya str., 3, building 1 1663545909@qq.com Other publications by this author

Introduction

Kunqu, recognized as a benchmark in the history of Chinese theater, has had a profound and multifaceted impact on many regional theatrical traditions. This influence has affected not only Beijing opera, but also Sichuan opera, as well as genres such as yueju and Huangmei xi. Kunqiu not only enriched these forms of dramatic art with artistic techniques and aesthetic concepts, but also contributed to their adaptation to specific cultural contexts, thereby creating unique synthetic traditions that continue to exist and develop in modern Chinese theater ^{[1, p. 404]}. In the 19th century, the kunqu genre began to lose its position in favor of the then-young Jingju Theater, known today as the Beijing Opera, which was just beginning to gain popularity. Having experienced a period of almost complete oblivion in the 20th century, kunqiu regained her life and began to delight the modern audience with her high poetic style, sophistication of performance, exquisite movements and colorful costumes. Due to these qualities, kunqiu earned UNESCO recognition as a masterpiece of the oral and intangible cultural heritage of mankind in 2001 and 2008, which underlines its importance in the world cultural panorama ^{[2, p.37]}.

Kunqu, being one of the most significant traditional performing arts in China, is based on the continuous transmission of practice from generation to generation. This art, which has unique visual representations and characteristic features, often focuses on individual performers ^{[3, p.142]}. In this context, the performers themselves, as creators of history, occupy a central place in the formation and change of tradition, having a significant impact on the preservation of cultural artifacts and the enrichment of cultural heritage. Kunqiu serves not only as a means of self-expression, but also as an important link in the chain of cultural knowledge transmission, allowing viewers and subsequent generations to touch the rich heritage of Chinese culture ^{[4, p. 7]}.

From the end of the 20th century to the present, Ke Jun has occupied an exceptional position among kunqiu performers. Having started his career with a professional education at a theater school in Jiangsu Province, he became a faithful heir and guardian of the traditional kunqu opera on stage. However, since 2000, Ke Jun has transformed into a symbol of the Chinese avant-garde kunqu, actively promoting and spreading his own philosophical concepts related to the aesthetics of this art. It is important to consider what prompted Ke Jun to switch from traditional performance to avant-garde experiments inside kunqiu. What significant changes have occurred in his performance style and artistic concepts? What are his ideas about the future of kunqiu in the context of his philosophical view? These issues open up space for in-depth discussion.

This study aims to provide a theoretical framework for further study of the evolution of modern Kunqu art. Moreover, it aims to provide the necessary information to support the spread of kunqiu in Russia, which is certainly important in the context of cultural exchange.

Therefore, in order to achieve the purpose of this study, it is necessary to solve the following tasks:

1. Describe the process of inheriting the traditional Kunqu opera performed by Ke Jun;

2. To consider the artistic expression of Ke Jun in the context of his appeal to the avant-garde Kunqu forms.;

3. Analyze and summarize the core of Ke Jun's philosophical view of kunqiu aesthetics, taking into account both traditional and avant-garde elements.

Discussion and results

Kunqu opera is an outstanding and unique genre of Chinese theater characterized by specific features and attributes that make it an integral part of China's cultural heritage. This type of art dates back to the Ming era (1368-1644) and reached its apogee in the XVI-XVII centuries, when a new musical style was formed, which had a significant impact on traditional theatrical performances ^{[5, p. 14]}.

Kunqu is distinguished by a high level of poetic expressiveness of the texts and the sophistication of musical performance, combining elements of both vocal and instrumental music with theatrical art. In performances of this genre, considerable attention is paid to emotional expression, which is carried out through the use of various musical instruments, including flutes, lutes and percussion instruments, which creates a unique sound palette. This makes kunqiu not only a theatrical performance, but also a musical event, where each component — from vocals to instrumental accompaniment — plays a crucial role in creating an atmosphere and conveying the plot. In addition, kunqiu stands out for its visual aesthetics. Bright costumes and carefully designed makeup not only denote the social status of the characters, but also serve as a reflection of their inner world. Every color and every detail in the visual presentation has a symbolic meaning, which contributes to the depth and layering of theatrical performances. While makeup is often used to denote the moral and characterological traits of characters, costumes help viewers understand the context and cultural codes derived from the historical era and the social conditions from which the characters originate. The specifics of kunqiu include an emphasis on acting and choreographic movements, which have become the most important components of the performing arts. Performers are required to demonstrate not only vocal skills, but also the ability to convey emotions through movement, which requires considerable skill and practice ^[2].

To date, kunqiu, being an object of world-class intangible cultural heritage, continues to maintain its vitality and relevance. One of the key factors contributing to this is the process of transmission and active development of this performed art from generation to generation. In the modern context, it is important to mention the outstanding figure of Ke Jun, whose legacy cannot be overlooked in the discussion of the development of Kunqiu. Born in 1965 in Kunshan, the city that is the birthplace of Kunqu, Ke Jun, despite the lack of an artistic context in his family, was accepted into the Jiangsu Provincial Theater School in 1977 to study this art form. During this period, his studies were greatly influenced by his mentor Zhang Jinlong, which contributed to the formation of his artistic personality and commitment to the traditions of Kunqu.

(Fig. 1) Zhang Jinlong and Ke Jun

Over the course of seven years of studying at the theater school, Ke Jun studied many traditional plays under the guidance of Zhang Jinlong, among which "Night Run" (夜奔), "Fa tzu Du" (伐子) and "Tiao hua che" (挑滑车) stand out. These opera repertoires are complex works that require performers not only to master vocal technique, but also to develop stage movement skills. Each word in these works is accompanied by a corresponding movement, which requires the actor to be extremely precise in interpretation, eliminating any ambiguities in the movements. This period became fundamental for the formation of Ke Jun's stage foundation as a performer. For example, in the play "Night Run" he plays the role of Lin Chun, who finds himself in a difficult situation due to the intrigues of evil characters and flees. At the moment when Ke Jun performs a fragment of "An lun quan xue lei sa zheng pao" (按龙泉血泪洒征袍), the intensity of his vocal performance, harmoniously combined with the accompaniment of the flute, deeply conveys Lin Chong's grief and anger, as well as his hatred of corrupt officials and the dark dynasty ^{[6, p.39]}. During this period, Ke Jun adheres to the traditional canons of performance, which, in turn, allows him to accurately interpret the scale of stage events and emotions embedded in the text of the performance.

(Fig. 2) Ke Jun "Night Running"(夜奔)

In 1985, Ke Jun graduated from the opera school in Jiangsu and joined the Jiangsu Kunqu Theater. During this historical period, China was at an early stage of implementing reforms and opening-up policies, which had a significant impact on the state of traditional theatrical art, in particular kunqu. The development of this genre and other forms of Chinese opera at that time was characterized by many difficulties. State art organizations existed at the expense of government grants, and the country's financial situation was difficult, so there were not enough funds to protect and support traditional art. Some of Ke Jun's colleagues, faced with harsh economic conditions, chose the path of commercialization of their professional activities or considered the possibility of leaving theatrical practice and abandoning kunqu art in general. However, Ke Jun showed perseverance and commitment to his artistic career, remaining true to his vocation. He continued to actively improve his skills in the field of performing arts, studying with many outstanding masters of the Kunqu theater. In 1993, his talent was recognized by the famous Kung fu performer Zheng Chuanjian, who took Ke Jun under his wing as a student, which became an important stage in his professional development.

(Fig. 3) Zheng Chuanjian and Ke Jun

At that time, Zheng Chuanjian was already 83 years old, and he had considerable authority in the field of Chinese opera. His mastery and deep understanding of theatrical art had a significant impact on the formation of Ke Jun's performing style. Under Zheng's guidance, Ke Jun studied representative classical works such as "Nine Lotus Lanterns" and "Ji Tzu". It is significant that in the Kunqu tradition, the practice of transferring knowledge from generation to generation is carried out within the framework of master-student relations, which ensures the preservation and development of the rich experience accumulated by artists over the years. The senior masters, having an oral and verbal method of knowledge transfer, shared with the students singing techniques, features of stage performance and interpretation of scripts ^{[7, p.196]}. Zheng Chuanjian is an outstanding representative of traditional kunqiu, possessed a depth of understanding and mastery characteristic of the classical embodiment of this theatrical genre. In the context of the changes taking place in the cultural environment, Ke Jun, who represents a new generation of performers, draws inspiration and knowledge from more modern sources, striving to create bridges between established traditions and new approaches in kunqu. The awards received by Ke Jun during this period serve as an important testimony to his achievements in the artistic field. These awards include the award for the best performance at the first Kunqu Young Performers Exchange Event organized by the Chinese Ministry of Culture, the Award for Outstanding Performance at the first Chinese Kunqu Opera Festival, as well as the Plum Blossom Award, which is the 22nd highest award in the field of Chinese opera. Thus, the question arises about the factors that contributed to Ke Jun's discovery of the avant-garde manifestations of Kunqu art.

As part of the task set in this article, we will further analyze the experimental creative development of Ke Jun, focusing on his transition from the traditional kunqu style to the avant-garde forms of this theatrical genre. After 2001, Ke Jun, remaining faithful to the traditions of Kunqu, met and became friends with Rong Nianzeng, who was reverently called the "godfather of culture" in Hong Kong.

(Fig. 4) Rong Nianzeng

Rong Nianzeng emphasized dialectical thinking, questioning the morphology and content of traditional theater, challenging established institutions and values, and sharply criticizing political, social, and cultural phenomena in a highly controversial manner. In 2000, he founded the Experimental Tradition series of projects, actively exploring the fusion and collision of traditional performing arts and modern theatrical performance. In 2003, as part of a joint theater festival in Hong Kong and Taiwan, Rong Nianzeng invited Ke Jun to participate in the event, and he invited him not only to present traditional kunqu, but also to create a "new kunqu," which led to the formation of Ke Jun's avant-garde style under the name "Yu Yun.". This work became a significant milestone in his artistic journey and marked the beginning of his transition to the avant-garde kunqiu forms. The work "Yu Yun" is an episode from the classic play "Tao Hua Shan" by Kong Shangren during the Qing Dynasty (1644-1912), and many scenes of this work had hardly been performed before. Ke Jun thereby violated the traditional canons by refusing to use opera makeup, which became a symbol of his desire for innovation and the creation of a unique, modern linguistic appeal within the framework of kunqiu.

(Fig. 5) Kunqiu's avant-garde opera "Yu Yun"(余韵)

Photo from the Jiangsu Province Literature and Art Network

In his creative practice, Ke Jun synthesized the characters of Su Kongsheng, Lao Lizan and Liu Jingting, and also included his own personality in this unity, which caused the audience to think deeply about his identity on stage. The success of this performance reinforced his desire to explore experimental avant-garde kunqiu. An experimental version of "Night Run" was presented in 2004 in honor of the 50th anniversary of the establishment of diplomatic relations between China and Norway. In this work, the traditional kunqiu singing, which is an important element of the theater, was lost; instead, the inner experiences of the characters were conveyed through the physical expressiveness of the performers, as well as through voiceover and subtitles filled with intense emotions and reflective rationalism. Since its first show, this avant-garde interpretation of "Night Run" has been demonstrated in cultural centers such as Singapore, London and Sweden, receiving positive feedback from representatives of the art community. These innovative productions seek to overcome the traditional kunqiu framework, providing a foreign audience with the opportunity to escape from the established perception of traditional techniques and delve into the humanistic essence that the opera's plot is trying to convey ^{[8, p.31]}.

As noted by V. V. Dementieva, the traditional theater of China is a unique, original phenomenon, its origin is associated with the flourishing of urban culture in the era of the late empires. Over time, there is an increasingly thorough stylization of performances, a certain canon is emerging with a set of mandatory stage techniques and roles of actors ^{[9, p.43]}. And Ke Jun's avant-garde creative performances in kunqu resonate precisely because, being the heir to tradition, he is not limited to the traditions of Chinese theater, but is open to the perception of a wide variety of elements, including the inclusion of Western classics in his avant-garde experiments in creating kunqu. After "Yu Yun," Ke Jun brought an experimental version of "Faust" to the world stage.

(Fig. 6) Kunqiu's avant-garde opera "Faust"

Photo from the Chinese news Network

Ke Jun believes that he was most moved by the episode from Goethe when Faust sells his soul to the devil Mephistopheles. He puts his artistic pursuits and reflections on the development of kunqiu into his creations. Kunqu, recognized as one of the objects of the "oral and intangible cultural heritage of mankind," is in a state of constant choice between preserving tradition and striving for innovation. This art is faced with a dilemma: whether to seek solace in previous cultural developments or strive for higher levels of ideological development. The confusion in his thoughts merges with the overlapping and clashing anxieties of Faust in the play. Therefore, he uses the juxtaposition of two characters - Faust and Shadow - to express all opposites.: the struggle of two souls in Faust's body, the conflict between the sublime and the hedonistic, the spiritual and the sensual, the dialogue about good and evil, the sacred and the demonic. In addition, in his interpretation of Faust, Ke Jun uses more experimental approaches to musical accompaniment, not limited to the traditional framework of Qu Pai. He strives to go beyond the fixed form of this traditional structure, choosing a singing style that preserves the kunqiu color palette, but at the same time includes new elements of musical orchestration and electroacoustic sound ^{[10, p.104]}. Looking back at the experience of creating Faust, Ke Jun believes that using traditional opera to express psychological conflicts will be a challenge for the future of opera. Traditional opera is not only the acting out of stories, but also the expression of spiritual overtones and the human soul. Since then, Ke Jun has created many avant-garde kunqiu-style plays, such as "Handan's Dream"(邯郸梦), the experimental "Night Run" and "319 Looking Back at the Forbidden City"（319 回望紫禁城）.

In recent years, Ke Jun's artistic thinking has undergone a significant evolution, reaching a deeper maturity. He consistently develops his individual path in the field of kunqiu, forming a unique philosophical and aesthetic concept, which he defines as "the most traditional and the most avant-garde." Within the framework of his interpretation, two aspects represent key elements: first, the dialectical nature of tradition and the avant-garde.

Ke Jun argues that a tradition devoid of an innovative component loses its ability to stand out and develop. On the other hand, innovative practices that do not have solid traditional foundations remain superficial and cannot contribute to genuine cultural progress. In his new concept, he proposes a bold synthesizing position that involves using the "most traditional" in order to achieve the "most avant-garde." By "the most traditional" he means the original kunqiu singing, the most standardized movements, as well as the purity of the scenic expression of this theatrical genre. In contrast, "the most avant-garde" encompasses openness, independence, debatability, philosophical depth, and a futuristic focus.

To realize this concept, Ke Jun emphasizes the need for more thorough training of actors in basic skills, which should take place in parallel with the continuous study of traditional theater. Secondly, it is important to return attention to the "central system of the main actor" inherent in traditional Chinese opera companies. This will allow actors to focus their abilities on writing plays, arranging, directing, and performing as a single holistic process.

For example, Kunqiu's play "319 - Looking Back at the Forbidden City" is a revolutionary embodiment of theatrical art, in which traditional elements are radically changed in order to create a deep emotional connection with the audience. This production is characterized by the absence of makeup and elaborate costumes; instead, the focus is on the simplicity of clothing, which emphasizes the sincerity and humanity of the characters. The play lacks an entertaining plot in the usual sense, and focuses on the psycho-emotional states experienced by Chongzhen, the last emperor of the Ming Dynasty (1368-1644). In the context of the tragic loss of the Chongzhen Dynasty, he interacts not only with the leader of the rebel army Li Zicheng and General Yuan Chonghuang, but even with his own reflection, which can be interpreted as an externalization of the character's multi-layered psychological time and space. These dialogues, filled with emotions and internal conflicts, create a new theatrical reality in which this pseudoscientific drama repeats the emperor's last psycho-emotional experiences at the time of the disaster.

One of the key moments of the performance is a 15-minute episode in which the lights turn off completely and smoke fills the theater space, allowing the audience to feel tension and hopelessness at the moment when Chongzhen is approaching his fateful decision to commit suicide.

The actors performing their parts without musical accompaniment return to the origins of traditional kunqiu, allowing the audience to touch the inner world of the character more deeply. The use of minimalistic props — a single table and two chairs — serves not only as a means of creating a scenic space, but also as a tool to stimulate the imagination of the audience, which allows them to independently interpret and experience the development of events.

(Fig. 7) Kunqiu avant-garde opera "319 • Looking Back at the Forbidden City"

Photo from the Modern Express newspaper

There is an interesting symbolic element in the play, which is a red chair, which becomes an important thread of the narrative. At the initial stages of the performance, this chair is assembled in front of the audience, which serves not only as an element of theatrical action, but also as a metaphor for the process of creation and destruction. After its assembly, it is tied with long white cloth straps, which can be interpreted as a symbol of the narrow shackles of circumstances or social expectations that the characters face. Thus, it is imbued with rich symbolism.

(Fig. 8) Kunqiu avant-garde opera "319 • Looking back at the Forbidden City"

Photo from the Modern Express newspaper

This element can be interpreted as a symbol reflecting the process of the dynasty's evolution, starting with its rise and ending with its fall, which greatly illustrates the alarming dynamics of historical development. In particular, it undoubtedly also refers to the tragic fate of the last emperor of the Ming Dynasty, who committed suicide on a hill outside the palace after it was captured by enemies. This act of desperation serves as a starting point for an in-depth analysis of the political and cultural transformations that took place during that period. In this regard, Ke Jun highlights the use of the "most traditional" stage props as a key aspect to achieve a high degree of symbolic and psychological expressiveness.

Secondly, it is worth paying attention to the isomorphism that exists between the avant-garde and humanism. Ke Jun emphasizes that his concept of thinking in the context of kunqiu forms an avant-garde spirit, which manifests itself through the rejection of traditional makeup and the application of a minimalist approach. In this context, the plot, story, and characters cease to be central elements, while the focus shifts to the "I" of the viewer himself. The observation process becomes more active, individualized, and open, which also reflects an avant-garde nature in both expression and perception. In addition, the aesthetic and philosophical concept of kunqiu represents a return to the idealistic traditions inherent in Chinese writers and intellectuals. When Ke Jun touches on this aspect, he raises the question of the possibility of kunqiu's return from the "field of representation" of artists to the rational perception characteristic of writers. This process involves a dialogue with literary characters from the point of view of assessments inherent in writers ^[11]. As Sanam Dzhalalovna Akhmedova notes, for the Chinese, the philosophical perception of life includes not only the pursuit of truth, but also the search for harmony with nature, the deep meaning of being and one's place in the universe, which emphasizes the importance of a person's relationship with the outside world ^{[12, p. 428]}.

Conclusion

Being one of the most active modern kunqiu performers, Ke Jun, on the one hand, is the heir of traditional kunqiu, and on the other hand, the forerunner of avant-garde kunqiu. Unlike many theoretical scientists who approach kunqiu research solely as observers, Ke Jun develops his aesthetic philosophy of this theatrical art based on deep personal life experience, which gives his concepts special practical significance.His desire to improve stage technique and actively introduce innovations into the repertoire contributed to a significant resonance of Kunqiu's aesthetic and philosophical ideas in modern China. Ke Jun has made purposeful efforts not only to develop and modernize Kunqu, but also to expand its influence beyond the traditional framework. He breaks the boundary between traditional and avant-garde kunqu, combining the theatrical classics of the East and the West. According to Professor He Chengzhou from Nanjing University, from telling ancient stories to expressing the modern self, this new form marks the awakening of the performer's subjectivity and opens up modern horizons, reconfiguring the close connection between kunqiu opera and modern life. The comprehensive use of cross-media resources is also one of the reasons why it attracts a modern audience. Experimenting with forms and methods, Ke Jun preserves the traditional aspects of this art with his achievements, while exploring its avant-garde possibilities, which opens up new perspectives for kunqiu and offers an alternative future for Chinese opera as a whole ^{[13, p.223]}.