THE recent production of the famous Kunqu Opera "The Peony Pavilion," cast with stars Shi Yihong and Kunqu Opera "Prince" Zhang Jun, has generated controversy over whether the opera is a successful adaptation of the famous story.

The first three times I saw the production, I was fortunate enough to watch with several foreign friends. They are from Austria and France and are involved in politics, business and arts and culture. These friends from the West think that this production reveals the modernism and independence of an ancient Chinese female despite feudal repression.

I wrote this article to share their views.

My immediate feeling about the show was that the plot of this "Peony Pavilion" was more fast-paced than any preceding versions. With few words, the hero and heroine fell in love with each other in their dreams at the very beginning of the performance, which draws out a touching love story.

Straight-to-the-point

The adaptation of the plot was recognized by the Westerners who were already familiar with the straight-to-the-point narrative structure. While I was wondering whether the technique would lower the persuasiveness and credibility of the story since it lacked foreshadowing, my French friend shrugged and said, "Yes, why not? I appreciate this love. What matters is not the time or reason to love but love itself."

His words inspired me: Truly. Why not?

As the original script of "The Peony Pavilion" goes, "Lovers like Du Liniang don't know how love comes to them but they are passionately devoted to each other." At this point, we could find a consensus between the ancient playwright and modern people. We could also say that this recent production maintains the spirit of the original version with its pure and smooth expression.

There was an anecdote. I told my foreign friend about the background of the story at the very beginning in order to avoid some misunderstanding resulting from cultural barriers. I emphasized that the story took place in the Southern Song Dynasty (1127-1279) and that status of Chinese women was vastly different from that of today.

However, when we exchanged our ideas during the intermission, I was surprised that he thought Du Liniang was just like a modern woman.

"Through the performance of the actress, I felt that Du was a modern women with ideas and aspirations despite the time she lived," he said.

When I asked if the performance had confused him, he replied: "Actually, it was outstanding. I had empathy with Du Liniang though I couldn't understand the language. I highly respected a woman daring to seek her true love or even an uncertain affection, regardless of the risks she would take. At this point, I considered Du a modern woman and I admired her!"

For Westerners, Chinese traditional arts are always considered the Oriental Opera. I asked my friends about the difference between the Occidental Opera and the Oriental Opera from their point of view.

My French friend said, "I would like to talk about the similarities of the two rather than the difference, since it is emotion that touches the audience no matter which category of opera. I myself, watching the opera with heart, wasn't troubled by the language and was deeply moved by the play. It's a total women's show and the actress was fabulous. Those pure and simple women are the most adorable."

Looking at the sincere faces of foreign friends, I couldn't help but agree with them. It is fortunate for me to have this new chance to see Du Liniang, a charming woman full of love, persistence and dignity. It doesn't matter whether the love of Du Liniang is rewarding or not. This opera makes us realize that love cannot be measured by a ruler.

The headgear of the actors was quite special this time for some of it was made of European crystal. When I asked my Austrian friend tentatively if the decoration looked somehow improper in a traditional Chinese show, he said, "Not at all. We would like to call your country China because china is the symbol of your tradition and culture. Nevertheless, I feel proud and excited to see that the Western crystal is introduced into your folk art."

Both china and crystal are considered to be the art of fire from the East and the West so they share the same root to some extent. The two were perfectly combined on the stage of "The Peony Pavilion."

Not just a piece of paper

My French friend sighed at the end of the story: "In France, we have got used to the lifestyle of partnership instead of marriage since a marriage certificate is viewed as just a piece of paper that we long neglect. Giving birth to a child before marriage isn't criticized because we think all birth comes from nature. However, I have some doubt about our French romance after today's show."

Seeing that I was a bit puzzled, he smiled and whispered: "Actually, I am deeply convinced by your Oriental romance! (Actress) Shi Yihong represents the history of romance in China. Her performance reminds me of the basic value of marriage. I cannot really call the woman I love my wife before we get married. Your history of romance tells me that the marriage certificate is not just a piece of paper but carries the weight of the beautiful calling of husband and wife."

I was touched by the words from the depth of his heart and started to think. The drama, with good directors and playwrights, new forms of expression, as well as experienced actors and actress, has secured great success.

Besides its entertainment, the show delivers enlightenment to our soul. "The Peony Pavilion 2012" shows Chinese romance, carrying the Chinese system of morals and values and upholds Chinese dreams and ideals.

Today, with the rapid development of China's economy, China's culture is in a period of unprecedented prosperity and development.

As a brand-new cultural product, "The Peony Pavilion" has given us an inspiration.

If China is eager to get its cultural products globalized, why not start from the traditional Chinese plays. Maybe it is the best way toward the international market.

The author is a freelancer based in Shanghai.