ABSTRACT

Singing and dancing were highly valued performing arts in private troupes of the period. A superior level of skills in these arts was not, however, the ultimate criterion by which most owners and spectators evaluated a theatrical performance. The ultimate criterion was role-playing. Singing and dancing were meant to be organic components in a certain acting style, which was seen most clearly in role-playing. In an average private theatre, actors and actresses were expected to understand the script and to portray their characters intelligently. In top private troupes, performers, especially those playing complex characters, might take three distinctive steps, namely script explanation, character interpretation and psychological preparation, to approach their role-playing. In the following pages, a wide range of examples is presented to paint a full picture of this practice. To illustrate the complete process, however, this chapter concentrates on Heng’s experience of playing Du Liniang. Heng was a star actress in Wu Kun’s troupe; Du Liniang is the heroine in The Peony Pavilion.