Taizhou Daughters’ Love in Peony Garden 牡丹亭泰州女兒情

泰州女兒情 Taizhou Daughters’ Love in Peony Garden 母親節看牡丹亭﹐林肯劇院曾上演一流藝術表演。 偉大的中國莎士比亞江西人湯顯祖﹐到泰州大學讀書﹐寫下來的愛情故事﹐女主角﹐可能是教授之女﹐隨他回江西﹐他執紅板親自教女伶拍打練唱﹐留下寶貴文化遺產。 當清統治中國﹐語音統一後﹐明朝的劇作家﹐保存民族淮揚文化﹐崑劇代表非滿族的文化﹐珍貴無比﹐一種古代史﹐未被滅絕的根﹐這是仍然可尋訪的殘存的古文化。 On Mother’s Day I watched the Opera of Peony Garden, performed at the Lincoln Center. This is the great Chinese Shakespeare Tang Xian Zhu’s work, as he was a student in Taizhou University in Ming Dynasty, reflecting his love story with a professor’s daughter. She followed him back to Jiangxi Province, and he had his own academy in training the young opera singers on music tempos with the red sandalwood plank. His great works left treasures of art and culture. After Qing tribe conquered China, they unified the phonetics called Mandarin (called National standard language), fortunately the previous Ming dynasty opera author preserved the culture in the opera shows, it is very precious. In the 20s, when a Beijing University professor was challenged by a Chinese master to sing a Soong era song, he didn't know how because we have been conquered by Qing's speaking the Mandarin. Only that Chinese academic master Zhang Tai Yan knew how to sing the Soong tune. As the Kun theatre represents the non-Manchurian culture, and it is an ancient culture, not exterminated or annihilated by the Qing invader. This is for us the fortunate to be able to visit the ancient foundation basis. 元朝後帶入蒙古族的唱腔﹐基本歌劇的規模﹐比宋多一份歌者的活力﹐使拘謹傳統中原融注入些輕鬆放開﹐有一段插曲﹐以蘇州語音彈唱﹐反應出泰州人外婆的心思與女兒情﹐外婆嫁給江西人﹐恰如牡丹亭歌劇作家﹐難怪湯顯祖真懂得我們吳地女兒心。 After the era of Mongolian rule, the some ethnic vitality was added to the structure of opera, to allow the conservative China Proper with other means of open expression. There is an inset of Suzhou dialect “Singing the Story, Tan Chang” style, it is reflecting my Taizhou grandmother’s mind and ethos and the daughters’ love. Grandmother also married to a Jiangxi great man, this is exactly like the Peony Pavilion author and his love from Taizhou. So I truly think that he understood so much about us girls from Taizhou with a great tenderness and appreciation. 在花園相會後﹐她相思成病﹐要畫下自己如花似玉的美貌﹐給青春留下如絲春夢。一種對愛的嚮往﹐淒美的寄託﹐古來有多少殉情女﹖幾乎如莊子時代裡的完美無缺的愛的執著﹐尾生的抱柱而不離開氾濫大水﹐只為與情人相約相等候﹐不見不散﹐清朝的紅樓夢﹐幾許少情痴不滅幻。 After she met him in the garden, she turned into love sick and into decline. She wanted to leave her immense beauty like flowers and gentle dignity like jade to make annotations to her youth as the silk thread of spring dream. A longing toward love, but so mournful hope, these are but many girls’ desperate dreams but relentless to kill one’s self? This is like Chuang Tze who wrote about the pursuit of a perfect love that for this man Wei Sheng held on to the bridge post and did not leave the site which he promised his love to wait until she showed up. We had “Dream of the Red Chamber” fervor for love in the book’s debut. 個中人在秋波妙 宜喜宜縝似笑又非笑 香羅帶 束細腰 卻又似仙 袂隨風飄 手執青梅小 眼前垂柳條 斜添它幾葉綠芭蕉 夢中書生曾折柳一枝 相贈于我 倒不如題詩一首如何﹖ Excerpts from the Peony Pavilion By Su Zhou style of Playing the Pipa to sing the story, in the local dialect I’m in the autumn waves wonder Like happy, like mad, laughing, but no laughing Pleated skirt with belt for my thin waist Like a legend girl With sleeve flying with the wind My hand holding the small plum In front of me is the droop willow shoots With a few leaves of green fan In my dream that young man of study bent the willow and gave me one branch Why not make a poem?