Communication Of Chinese Kunqu Opera In France

Between China and France,cultural exchanges have a long history.French Sinology has been in the forefront of the world for a long time.Before the 20th century,the spread of Chinese drama in France was mainly based on text translation.After the 1980s,Chinese opera had more influence on the performance,among which the Kunqu opera Peony Pavilion had the greatest influence.Once,the older generation of artists represented by Mr.Mei Lanfang took the opera to the world.French drama critic and poet Paul Colodale watched Mr.Mei Lanfang’s performance in Shanghai and praised it.Mei Lanfang was called "the spirit in the air"."Peony Pavilion",starring Zhang Jiqing in 1983,caused a stir in France.After that,many versions of Peony Pavilion "were performed in France.The pioneer version was directed by Peter Sellers,the complete version was directed by Asian American director Chen Shizheng,the Chinese-Japanese edition was co-organized by Jiangsu Kun Opera Academy and Tamasaburo Bando,and the garden edition was arranged by Zhang Jun and Tan Dun in the past two years.Zhang Jiqing version of "Peony Pavilion" first performed in France.Compared with other versions,it’s the most pure version who retained the original features of Kunqu Opera.Other versions more or less put aside the original form of Kunqu Opera,adding other content.In the process of cross-cultural communication of Kunqu Opera art represented by Peony Pavilion,the difference of high and low cultural context and cultural empathy play an important role.China and France belong to high cultural context and low cultural context.In the process of cross-cultural communication,if the above two aspects are not done well,it is easy to cause misunderstanding and conflict.The success of Peony Pavilion lies in its grasp of environmental differences,eliminating contextual differences in details and arousing public emotional identity.At the same time,the Chinese Kunqu Opera still meets several resistances in the spread process,which are embodied in the following four aspects:first,the lack of integration of Chinese opera,the lack of clear boundaries between the various plays,and the difficulty of leaving a fixed impression on the French audience;second,the communication obstacles caused by the difference between the "media reality" and the actual situation;third,the understanding and cognition of the whole society under the influence of cultural homogenization evolved along converging pathway,the boundaries between different cultural groups are becoming blurred;fourth,the number of opinion leaders is insufficient,and China still lacks the leaders who can have effective influence in different cultural circles.The formation of "fine works" depends on the understanding of the foreign market,the leading of key characters and the development of the differentiation of opera art itself.Especially in the era of social media,the role of interpersonal communication is magnified.How to choose the right opinion leaders is also a problem that needs our further consideration.The huge domestic market owned by our country should be regarded as the primary experimental field for the future dissemination.The foreign dissemination of plays should first obtain the wide recognition of the domestic market before deciding whether to go abroad:it depends not only on the production of plays,giving professionals more discourse space and decision-making power,but also on the development of the market,especially for the younger generation,which depends on the deep cultivation of the new media and the further improvement of the education system.