The Chinese traditional classical into the contemporary and move towards the world, is not only the classical popularization this narrow path, don't have to transform according to the western model. The ancient art of delicate and elegant, is scarce because of its in the moment and can enrich the spirit of the contemporary world

"The peony pavilion" and "hot" kunqu opera

Literary works such as people, as well as national, was quite different. The peony pavilion was, at the beginning of the rhetoric around it and the law and the article style had a fierce debate; The evaluation of Shakespeare, is mixed. But argue about the value of Shakespeare's works and grade soon fade away, not only did he become the darling of the British folk drama market, its work more as a recognized in Europe and even the world literature classic, in widely; And tang xianzu known examples of "linchuan four dreams", "peony pavilion", be called great in the history of human theater jie universally acknowledged in the world of kunqu opera, the other three films, only the occasional purple hair pin ji complete performance, the other two only a small number of selected records. Tang xianzu not as popular as Shakespeare's drama works, it's not surprising, the intrinsic value of the literary works, already can't judge only by popular or not. Tang xianzu represents power and vulgar culture and intellectuals in Ming dynasty and open-minded attitude and independent personality spirit, against his culture and aesthetic value is not affected by drama entertainment market the cold shoulder.

History, tang xianzu not like Shakespeare, in the present China, tang xianzu and the peony pavilion has almost traditional culture symbol of status, is Shakespeare. After a long period of time, is regarded as national traditional culture and national progress in negative equity, kunqu opera as the crystallization of culture in the Chinese civilization, is often being shot, even the struggling inheritance dilemma. But in return under the background of traditional culture, bai xianyong made the youth edition of "the peony pavilion" premiered in 2004, rapidly cause the attention at home and abroad, and led to a shift in the field of ideology and culture. College students have to appreciate the peony pavilion into the theatre, to the endless charm of opera, and thus gradually changed the hazy and ambiguous cognition about Chinese culture. In the whole society in the kunqu opera "" Chinese hot" and new cognition and close to the boom of traditional culture, tang xianzu's the peony pavilion has played a significant lead role. This ancient nation of ring of classical art into the veins of emotional memory, suddenly be awakened the peony pavilion, is like a savings energy instantly broke out in one hundred, hundreds of millions of people are eager to return the psychological demand of traditional projection, tang xianzu and kunqu opera get unprecedented attention.

Kunqu opera became one of the most iconic cultural symbols of traditional culture, "the peony pavilion" therefore become the "mouthpiece" of kunqu opera, tang xianzu is even more important than any time before we know the name. These are enough to prove that great works of art historical value and contemporary significance of infinite possibility. The peony pavilion (youth version of the popular is accidental, but it was lucky enough to become the symbol of the traditional culture symbol, also has its inevitable - tang xianzu is an elegant art peak of the peony pavilion, aroused the national culture and traditional culture in gene is most associated with hidden within. In the chain of traditional Chinese art and contemporary society in the process of reconstruction, precisely because of the peony pavilion and a far cry from the contemporary popular culture, in the face of recovery of Chinese traditional culture to the new situation, tang xianzu and its artistic charm and the relationship between the contemporary value more tension.