Reflection of the principles of Chinese traditional art in Guo Wenjing’s chamber opera “The Night of the Banquet”

Section 1. World music: retrospections and modernity

Abstract

Statement of the problem. The traditional foundation in the works of Chinese composers has become a key factor in asserting national identity and the originality of musical art at the end of the 20th and the beginning of the 21st centuries. These processes have been marked by innovative attempts to incorporate traditional elements into the works of composers associated with the ‘New Wave’ movement. The relevance of this study is driven by the growing interest in the works of one of its representatives, Guo Wenjing. Objectives, methods and novelty of the research. Studies on Chinese opera as a phenomenon at the intersection of tradition and modernity have been conducted by Li Ming (2019), Liu Le (2022), Wang Na (2019), Huang Shaobo (2023), and Wei Fang (2024), among others. A significant theoretical foundation on traditional art and the specifics of Chinese traditional opera is provided by a collection of articles by Zhu Wenxiang (2008). Guo Wenjing’s operas, particularly “The Night of the Banquet, hold a special place in his oeuvre yet remain largely unexplored in Ukrainian musicology, which underscores the scientific novelty of this research. The purpse of the study is to explore the reflection of artistic principles of Chinese traditional art in Guo Wenjing’s chamber opera “The Night of the Banquet”. The research is based on an interdisciplinary approach, incorporating historical and cultural, comparative, and analytical methods. Research results. For the first time in Ukrainian musicology, this study examines Guo Wenjing’s chamber opera “The Night of the Banquet” as a unique synthesis of Chinese and European operatic traditions. The research highlights Guo Wenjing’s stylistic approach as that of a distinctly Chinese composer and characterises the connection between musical dramaturgy, traditional Chinese painting aesthetics, and theatre. Key stylistic features of the opera that recreate the medieval Chinese national colour are identified: Reliance on national worldview principles; use of classical Chinese language; application of traditional Chinese poetic techniques; incorporation of vocal styles from traditional Chinese opera; inclusion of Chinese national instruments in the orchestra; expansion of percussive effects. The study emphasises that timbre individualism and the search for new instrumental and vocal colours play a crucial role in the opera’s musical dramaturgy. It is proven that the fundamental characteristics of Chinese traditional theatre – complexity, virtuality, mobility, and conventionality – are embodied both in the opera itself and in its original directorial interpretation. Conclusion. The study concludes that “The Night of the Banquet” develops the aesthetics of traditional Chinese theatre through symbolism, non-linear dramaturgy, and a unique fusion of musical techniques. The use of Confucian and Daoist motifs imbues the work with philosophical depth. The integration of folk instruments and traditional Chinese opera vocal styles ensures the cultural authenticity of this chamber opera, positioning it as a significant phenomenon in contemporary operatic art