ABSTRACT
This chapter explores the hybrid transtextualities embodied in the triangular relation between Tang Xianzu’s Peony Pavilion, its traditional Chinese kunqu theatre adaptations, and Stan Lai’s immersive theatre production, Nightwalk in the Chinese Garden. It starts with exploring the complicated emotional picture and plot structure in the original playtext with a special focus on the plural affective modes and the multi-level stage-auditorium communication. It then examines whether the textual profundity in the hypotext has been preserved in later kunqu performances and in Stan Lai’s drama adaptation. Overall, the hypotext, along with later adaptations, forms interesting transtextualities that shed light on the communication between the past and the present, the East and the West, and offers inspiration for future artistic creations.
