A Dream Under the Southern Bough is part of Four Dreams, a series of major works penned by Ming dynasty playwright Tang Xianzu. The most classic renditions of these four scripts were staged as traditional Kun opera, which is one of the oldest forms of Chinese opera.

The scripts of these traditional opera practices are of high literary quality so there is a rhyming and rhythmic element to the recitations in addition to the arias. This works in tandem with the stylised choreography which is graceful and dance-like.

These techniques of acting and singing adhere to “four skills and five methods”, a codification of training areas that opera performers aspire to master and also a measure for the most well-rounded and thoroughly trained performers.

Peking opera and Kun opera, both widely known to be among the pillars of Chinese cultural arts, differ in their singing styles. While Peking opera music is largely classified by meter, Kun opera music is classified by tunes. The jinghu is the most prominent musical instrument in Peking opera, while the dizi is the leading instrument in the Kun opera ensemble.

Experience the nuances of these art forms first hand by joining Peking opera maestros Tian Ping and Qin Zhan Bao, as well as Singapore dizi musician Ong Jie Ying at a live demonstration of traditional opera techniques.

解读戏曲韵律

《南柯一梦》是明代戏曲家汤显祖的临川四梦之一，其他三梦为《还魂记》、《紫钗记》和《邯郸记》。这四部剧作都曾以传统戏曲演绎，而最为经典的首推“百戏之母”昆曲的版本。

传统戏曲剧本是以有韵律的诗句编写成的，基本上就是合辙押韵的“诗剧”。为此，传统戏曲发展出一整套的韵律程式，比如：无声不歌，无动不舞，举手投足之间行，走，坐，卧等韵律，也就是戏曲中的四功五法；虚拟的程式，恰恰同文本诗意的如梦似幻契合。

同为中国国粹的京剧与昆曲，两者的分别在很大程度上是在声腔上，比如：京剧是板腔体，而昆曲则是曲牌联套体；而京剧乐队的主奏是京胡，昆曲则为竹笛。至于唱做念打，四功五法自是相同的。

在这场戏曲欣赏讲座上，戏曲大师秦占宝与田平将现场示范传统戏曲的表演功架，新加坡的竹笛演奏家王洁盈也将作现场伴奏，同观众一起体验具有600多年历史的戏曲演唱。