Abstract
Bai Xianyong proposed the concept of New Aesthetics of Kunqu Opera after the youth version of The Peony Pavilion and the new version of The Story of Jade Hairpin. The goal of the New Aesthetics of Kunqu is to integrate the classical aesthetics of Kunqu and modern theatrical aesthetics, and the integration is characterized by the centrality of classicality aided by modernity. The works which come as a result of the New Aesthetics of Kunqu Opera have received praises scholars and some criticism from senior fans at the same time. This paper expounds on Bai Xianyong's theory and practice, and analyses the different viewpoints involved, and argues that his New Aesthetics of Kunqu Opera is a concept of writing, not simply new Kunqu aesthetics, which can be regarded as a kind of stage aesthetics, and therefore applies to Kunqu Opera and other operas as well.
First Page
37
Last Page
43
Recommended Citation
Ding, Sheng. 2017. "Bai Xianyong's New Aesthetics of Kunqu Opera." Theoretical Studies in Literature and Art 37, (3): pp.37-43. https://tsla.researchcommons.org/journal/vol37/iss3/4
