From its origins as a song-drama in the 16th century to its revival in the early 20th century, this book offers a fascinating introduction to Kunqu, one of the oldest theatrical traditions in China, and its impact on Chinese culture.

The rich body of literature and poetry associated with Kunqu has often been studied independently of its stage tradition, which was typically performed as individual scenes from full-length plays. By contrast, this book focuses on the contemporary performance of Kunqu, exploring its music, movement, and aesthetics.

Unlike European opera, Kunqu considers poetry and music as one. The tonal and prosodic features of Chinese words and the melodies accompanying them are interdependent. Using examples from the traditional repertoire, Kim Hunter Gordon demonstrates how Kunqu's singing provides a model for understanding the genre as a whole.

Throughout its history, Kunqu has persisted across divides, from the literati elites of the Ming dynasty to the rowdy theatre districts of the Qing dynasty. Despite being viewed as fixed and immutable, Gordon demonstrates that Kunqu is diverse and constantly evolving. Tensions of interpretation and orthodoxy have led to a focus on the fine details of performance, making Kunqu a continuously changing art form.