CUHK - The Beauty of Kunqu Opera 

1.1. A brief introduction to Kunqu

1.2. High points of Kunqu during the late Ming and early Qing dynasties

1.3. The socio-historical background of Kunqu in 16th- and 17th-century China

1.4.The Peony Pavilion, its poetry and performance

1.5. From page to stage: The Peony Pavilion as masterpiece

Week 1

2.1. A brief introduction to Kunqu music

2.2. Musical features of Kunqu melodies

2.3. Analytical definition of tune-type: qupai

2.4. Contrasts between Western opera and Kunqu opera

2.5. Traditional instruments of Kunqu ensemble: changmian

Week 2

3.1. Comparison between the young scholar and the official role-types

3.2.1. Singing and speaking of the young scholar role-type

3.2.2. Foot work and hand gestures of the young scholar role-type

3.2.3. Hand, eye,body, and step combined: "Repartee of Zithers", a scene from The Jade Hairpin

3.3. Demostration of the young official role-type: "Looking Homeward", a scene from The Shepherd

3.4. Demostration of the great official role-type: "Lamenting before the Statue", a scene from The Palace of Eternal Life

Week 3

4.1.1. Categories of female role-types in Kunqu

4.2.1. Demonstration of the mature female role-type

4.3.1."Search for the Dream", a scene from The Peony Pavilion: imaging the romantic mindset of a young woman

4.3.2. "Search for the Dream", a scene from The Peony Pavilion: disappointment

4.4.1. Benefiting from many masters: Liang Guyin studies "Earthly Desires"

4.4.2. Focus on critical points: using eye movement and acting distracted as she recites

4.4.3. Pantomime, song, and dance combined: "counting arhats" and escaping down the mountain

4.5.1. Equal demands of singing and martial arts in ?Borrowing the Plantain Leaf Magic Fan?, a scene from The Journey to the West

4.5.2. Innovation in the scene: "belly pain"

Week 4

5.1. Face paint patterns and costumes various painted face roles

5.2. Use of the beard and eyes in the enactment of Lord Guan

5.3. Importance of singing in "Into the Enemy Camp Alone"

5.4. Importance of speech and recitation

5.5. Movement and facial expression

Week 5

6.1. Categories of male comic role-types in Kunqu

6.2. Demonstration of two monks in "Escape from the Monastery" (young chou) and "Touring the Prayer Hall" (fu chou)

6.3. Acrobatic action with lyrical singing: "Shi Qian Steals the Armor"

6.4. Agility within logic and surprise: excerpt from "Shi Qian Steals the Armor"

Week 6

7.1. Kunqu and Chinese traditional aesthetics

7.2. The Young Lovers' Edition Peony Pavilion and The New Edition Jade Hairpin: connecting tradition and modernity

7.3. The Young Lovers' Edition Peony Pavilion: innovations in stagecraft

7.4. The New Edition Jade Hairpin: return to classicism, synthesis of graphic and calligraphic arts

Week 7