These engaging lectures by twelve kunqu masters furnish inside views of their creative process as they discuss a foundational play that features their role type. The introduction, annotations, and supporting materials are as comprehensive an introduction to kunqu as can be found in English and provide leads to existing resources in both Chinese and English” —Catherine Swatek, University of British Columbia, Canada.
“The book is unique and valuable and provides understanding about lectures of very influential people to even the ordinary, interested readers ”—David Rolston, University of Michigan, USA.
"These masters’ narratives of their lived experience offer readers a wealth of information on Kunqu’s stage art, creative process, history, behind-the-curtain secrets, and pedagogy. Accentuating the practitioner’s voice and body, this book constitutes a significant contribution not only to kunqu studies but also to general theatre studies and theatre history.” —Xing Fan, Associate Professor; Associate Director, Graduate, Centre for Drama, Theatre, and Performance Studies, University of Toronto, Canada.
"This wonderful book captures vanishing expertise of kunqu performance for Anglophone readers through translations of lectures by master performers about their favourite scenes. The results are both worthy and highly entertaining. Lecturing about a scene called ‘The Stirring Zither’, Wang Shiyu proves an utterly engaging storyteller. Wang’s lively and precise descriptions of key performance conventions uncover subtle subtextual meanings and lift opaque literary references of the page. Teasing out the details of psychological motivation, he renders the budding romance between a failed feudal scholar and a recalcitrant Taoist nun in delightfully relatable terms. Belying Kunqu's reputation for the strict convention, Liu Yilong’s discussion of the famous scene ‘Little Monk Descending the Mountain’ offers a fascinating insight into how he transformed many ugly and lurid traditional performance elements into charming and beautiful ones. Rooted in detailed character analysis and clear-sighted assessment of contemporary audience expectations, he explains his development of a comically nuanced and sympathetic portrayal that has delighted audiences in China and abroad"—Megan Evans, Senior Lecturer, Theatre Programme, School of English, Film, Theatre & Media Studies, Victoria University of Wellington, NZ.
"This book is a pleasure to read, engaging and witty”— Cindy S.B. NGAI, Associate Professor cum Programme Leader of Master of Arts in Bilingual Corporate Communication, Department of Chinese & Bilingual Studies, The Hong Kong Polytechnic University, China.
