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OF CHOPSTICKS AND OPERA
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Who needs to know the language when expressive eyes, wild gestures, and swishing swords say it all? Ke Jun, the Chinese Kunqu opera artiste, was most eloquent on stage
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THE SEASON of combination packs is here — beverage free with pizza, cassette free with tea, T-shirt free with trousers... And why complain when the pack is interesting? So, when a five-star hotel wanted to promote its new Chinese menu, and a society for the promotion of arts wanted to garner funds for its movement, the two came together to give Bangaloreans a treat to all the senses — a Chinese Kunqu Opera brought by SPIC MACAY Foundation, along with speciality Chinese dinner offered by Master Chef, Lai Hin Tong William, at Memories of China, Taj Residency.
In spite of a thin audience, the opera was a scintillating affair. A handsome young Chinese walked briskly onto the dais, took off his blazer, sat down at a table, and started applying make-up in quick, deft strokes.
Even as we gasped in unison, the transformation of a trimly-dressed young gent into an actor playing a Chinese king of yore was complete! The quiet Ke Jun became a fearsome wusheng (a male military officer).
"Mr. Ke has a 15-year-old son," reveals Cecelia S.W. Wong, the exuberant interpreter, to me later. "But as a Kunqu artist, he spends hours keeping his body and mind fit, you know, so that's why he looks so fit!" At Memories of China, the audience sat spellbound as Ke Jun played the role of King Ling Chong who flees his country. Not many in the audience, except for a handful of Chinese students, knew Chinese. But that hardly mattered.
The dramatic movements, the wide-open eyes, the fierce stance, the jumps, the swishing of the warrior's sword, and the sudden bursts of song conveyed it all.
Ke Jun in his many guises
"I was born in the birthplace of Kunqu — Kunshan, Jiangsu, on September 20, 1965. And I chose to learn this art form," said the fair actor. "Kunqu is a complete assembly of fine arts, and a performer has to be a poet, a singer, actor, martial arts expert, and a communicator," added the artist, who has won several awards.
Ke Jun has been invited to visit countries such as Korea, Finland, Sweden, and Japan. He has also performed in Hong Kong, Macau, and Taiwan on arts exchange programmes. Currently a national class one performer, he particularly enjoys working with children.
"Every child is observant, and observation is one of the key requirements of a good Kunqu artist," pointed out the Chinese, who enjoys South India's Kudiyattam. Ke Jun has enjoyed performing in India. The tour has been exhausting — 14 performances in nine cities in 12 days! But obviously, the man has his own stress-busters.
"As we drove from Mangalore to Bangalore, just looking at the lovely palm trees against your blue sky was enough to drive away my tiredness. Seeing it in its natural form is 1,000 times better than seeing it in a painting... "
And watching a Kunqu opera too is much better than seeing it in a picture or reading about it. How does one write about the feelings of a man singing in a foreign tongue? How does one bring out the poignancy of a king on the run? How does one convey the broad range of emotions that the artiste displays? Not even tucking into the best of treats from Chef William's Shanghai and Hunan cuisine can evoke the muse to answer such questions. Ke Jun learnt Kunqu at the Jiangsu Theatrical School for seven years from 1978. He was trained by the famous Wesheng performing artist, Zhang Jinlong, and the renowned Kunqu artists, Zhou Chuanying, Bao Chuanduo, and Zheng Chuanjian.
Minus the make-up
Said Ke Jun in rapid Chinese, which was translated by the sprightly Cecilia: "Kunqu opera originated in Kunshan in East China's Jiangsu province over 600 years ago. Filled with brilliant cultural characteristics, Kunqu reflects the creativity of oriental artists and the diversity of the culture. An indication of its importance is that UNESCO has accorded it the status of a Masterpiece of the Oral and Intangible Heritage of Humanity. Kunqu has accumulated a repertoire of more than 400 zhezixi, or highlights from operas."
After the performance at the Taj, Jnanpith-award winning writer U.R. Ananthamurthy was so impressed with the actor that he likened the artist to Lord Krishna.
The resplendent, embroidered silks, the intricately-decorated crown, and the make-up complete with tilaka did give the Chinese an Indian look. "In art, everything is intangible," he explained. "You have to use your imagination. The reality exists in my actions, and my imagination," he added.
Back in Shanghai, Ke Jun is a much sought-after star. He has acted in a popular television series, Tales of Nau, which has music by the famous artist, Lin Tian Hua.
"You are really lucky to be having his performance!" said the winsome Cecilia. We'll raise a chop suey to that!
M.K.
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