When Peony Pavilion meet with Leehom Wang’s Zai Meibian
Leehom Wang’s “Zai Meibian” is the representative of pop music, while Tang Xianzu’s “the Peony Pavilion” is the representative of Kunqu opera. This essay evaluates what happens when the two musical, artistic meet and how they promote cultural and musical values. Based on the artistic perspective, the two concepts are connected with “youth.” For instance, the Kunqu has been “re-juvenile,” which shows that it’s closely related to the state’s economic and institutional rescue support and the efforts of a large number of cultural workers at home and abroad (Zhang & Cao, 2018). On the other hand, “Peony Pavilion” has drawn the distance from the common people, especially young people, with the charm of “youth.” Don't use plagiarised sources.Get your custom essay just from $11/page
Based on aesthetic functions, both artists can be perceived to be passionate. Perhaps, the aesthetic function of pop music mainly refers to the aesthetic sense in psychological and even spiritual sense, which is manifested in the release of emotions, such as the joy of body and mind, the cultivation of sentiment, and the improvement of aesthetic ability. On the other hand, Kunqu, combines poetry, prose, fiction, as well as drama and fuses literature, singing, dance, acrobatics, and fine arts (Wichmann, 2000). It tells moving stories like pop music and interprets the ancient times of humankind. Their passion for pop music and Kunqu opera has enhanced the growth of other small artists and the promotion of cultural practices and performances. This, in turn, has enhanced social and cultural growth in China.
It is prudent to note that Kunqu opera and pop music has enhanced the quality of music and artistic performance in China. The promotion of the mass media and the formation of transnational production lines have brought popular music in China and the rest of the world. They also enabled it to take advantage of various music and cultural elements of the world, thereby consolidating its global character.
References
Wichmann-Walczak, E. (2000). “Reform” at the Shanghai Jingju Company and its impact on Creative Authority and Repertory. TDR/The Drama Review, 44(4), 96-119.
ZHANG, W., & CAO, Y. (2018). The Loss of Cultural Image in Literary Translation-A Case Study of the English Version of the Peony Pavilion. Studies in Literature and Language, 17(2), 66-69.