Date: May 4, 2011
Location: The National Centre for the Performing Arts (The Egg), Beijing.
Background. Bando Tamasaburo (坂东玉三郎) is a kabuki actor who specializes in onnagata, or women’s roles. In 2006, after watching a performance of The Peony Pavilion, Bando-san fell in love with the art and soon began taking lessons from Zhang Jiqing (张继青), an authority in kunqu performance and the inaugural winner of the Plum Blossom prize. It is not unprecedented for a guy to tackle the female role of Du Liniang (杜丽娘) – most famously, Mei Lanfang (梅兰芳) has done it, to great acclaim. But it is unprecedented that a Japanese onnagata would try a role and in an art form so deeply imbued with ancient Chinese sensibilities. Yet it would be a mistake to underestimate the onnagata – while stage execution may differ, kabuki and kunqu have their similarities – in many ways they often share a similar sentimentality towards a more idyllic past, and tend to extol the virtues of ethereal beauty and ancient customs more than many other art forms. The biggest difficulty Bando-san had to overcome remained with the libretto, which is in Chinese and to be sung in the kun vocal style. After two years of hard work (Bando-san once said that it took him a few months to learn three minutes of the libretto), Bando-san made his debut as Du in Kyoto in 2008, and soon thereafter performed the role in Beijing, Shanghai and then Hong Kong. Dubbed the “Sino-Japanese Peony Pavilion”, this production draws from a pool of top kunqu and theater talents from the two countries.
Performance. The Sino-Japanese Peony Pavilion presented seven chapters in one evening, out of the original’s 55 chapters (which could easily take a few nights to labor through, a la Wagner). Bando-san began the evening by discovering a beautiful garden for the first time and, in the process, delivered perhaps the most famous bit in all of kunqu:
原来姹紫嫣红开遍 / 似这般都付与断井颓垣 / 良辰美景奈何天 / 赏心乐事谁家院. The spring flowers bloom with abandon / next to broken wells and deserted fences / where have the pretty sight and beauty gone? / who in the past has lived in this pleasant and charming place?
As his Du made her new discovery, she started to lament a wasted past, while carrying a facial expression that effused a curious glow yet tempered with a mild air of regret. Within a short passage, Bando-san was able to showcase a complex array of emotions, yet framing all of them within the psyche of the teenage girl he was portraying. By the end, his Du has transformed from a clueless teenager wondering what love was and where to find love, to someone who had all the answers figured out. In the chapter “Union with the Ghost” (幽媾), when Du’s lover, a scholar, expressed love for a woman in the declaration: “姐姐 / my lovely sister!”, Du barely nudged as she was certain that the woman for whom the scholar declared love was no one else but her. The gesture could be read as naive, but when Bando-san portrayed such on stage, Du, neither jumping to ecstasy nor harboring any doubt, simply beamed with a matter-of-factly confidence. She moved slightly towards her lover, as if acknowledging his declaration for her. The lover, played by Yu Jiulin (俞玖林), provided an excellent counterpoint to Bando-san’s Du. Having seen him in Macao for the first time in 2005, I found his acting now more refined, emitting the innocent warmth of a young scholar with more restrained precision than in the past, when he would tend to over-act.
This performance is part of a series of performances celebrating the tenth anniversary of Kunqu’s selection by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity. Other performances with reviews include: A Collection of Scepters (满床笏), and The Lute Story (琵琶记).