The “dream-wit” in the Chinese classical stage performances works in two ways . On one hand the actors present a dream-like art . On the other hand , the audience makes free associations of the acting with their cultural background and experiences . Brechter , a German playwright , was struck by the Chinese “dream wit” . He described to the Westerners the scene of “A Fishing Woman Steering a Boat” in the traditional Chinese opera “Fishermen Revenge Themselves on the Local Tyrant” : “The actress wields a small oar no longer than above her knee , to show that she is steering a boat even though there is no boat on the stage . Now the river runs more rapidly , and the boat is harder to be balanced . Now there is a bend , and she rows slower . Thus the steering of the fishing boat is presented”. Thanks to this type of acting , the empty Chinese opera stage can be used to present a space and time conception . Sometimes , the stage is a battle field . Sometimes , the stage is a garden .
Sometimes , the stage is a solemn courtroom . Sometimes the stage
is a nuptial chamber . All these need no change of the backdrop . The acting of the actor alone creates the scene . There are more such cases . A series of somersaults show the Monkey King goes to the Heavenly Palace . The zigzagging of Lin Chong shows how he rushes to Mount Liang at a snowy night . Eight actors playing a walk-on role represent a mighty troop . “A vast territory can be condensed into seven or eight paces , a million warriors can be represented by three or five actors”. For example , in the act “Dreaming in the Garden” of the opera “The Peony Pavilion” , Lady Du Liniang , accompanied by her maid Chun Xiang , sings couple of arias and paces on the stage , pointing to various directions . This represents they are seeing the mossy ponds , the painted corridors , the dilapidated walls , the ornate boat , the peony pavilion , the rhododendrons . etc ., amidst the flitting, singing birds. The audience seems to visualize all these . As soon as the act is over , the audience finds the stage is empty , and feels as if awakening from a vivid dream . Also the audience’s ideals are mirrored in the operas . An outstanding feature of the traditional Chinese operas is the “happy grand reunion” endin
Most traditional Chinese operas end up in grand reuion , no matter how complicated the plots are . For example , the opera “Lian Shanbo and Zhu Yiangtai” : In this opera Liang Shanbo died of love sickness , because Zhu Yingtai’s parents would not let her marry him . When Zhu Yingtai visited the tomb of Liang Shanbo , she committed suicide . This was a tragic ending . But then the two lovers were transformed into a pair of butterflies making the ending a romantic dream , so as to appease the audience . For another example , the opera “Injustice Done to Dou E” : In it Dou E was executed . But her ghost requested a high-ranking official to redress her wrongs . For another example , the opera “The Peony Pavilion” : Du Linian died because of her dream . But she revived and her dream was realized . Her dream was transformed into a grand reunion . So , the grand reunion is the inevitable ending of faithful lovers .
Why do the Chinese choose reunion , even if it be a dream?
First , the ancient Chinese believed the heaven is round . It is stated in the “Book of Change”. The heaven is round . The concept on the natural law of the Chinese people is the things are revolving . Reunion is the virtue of divinity . The grand reunion ending has been the ideal of the Chinese .
Then , dreaming is the reflection of reality and art . Ethics is in concert with culture . Dramatic art is a part of the culture . This is reflected in a couplet on a theatrical stage :
“Sing the opera , listen to the opera , talk about the opera , all things in the world are acts in operas .
You’re entertained , I’m entertained , he is entertained , ethical teachings are embodied in the entertaining operas”.
