Based on an episode from the Chinese literary masterpiece, "Water Margin," by Shi Nai’an (1296-1370?) of the Yuan dynasty (1280-1368), "Taken Alive" is to a certain extent the Chinese dramatic counterpart to the Western ballet, "Giselle," but with a much darker and more ironic ending. The play embodies the three quintessential elements that make up  the high art of the Kun Qu theater: long arias with poetic lyrics, intricate dances and intense feelings. Indeed, "Taken Alive" is a tremendous vocal, physical and emotional challenge for even the most accomplished Kunqu performers. 

          Yan Xijiao was the bought mistress of a low-ranking municipal official named Song Jiang in the Yun City of Shandong Province. She was killed by Song during a violent fight, after he had found out about her affair with Song's young disciple, Zhang Wenyuan. Before her murder, Yan had threatened to tell the authority Song's secret liaison with a most-wanted group of valiant rebels seeking to end the corrupt monarchy. After the murder, Song ran off to join the rebels at the water margin. 

          "Taken Alive" begins with the despondent but resolute ghost of Yan Xijiao paying a midnight visit to her still-living lover, Zhang Wenyuan, who remains a robust philanderer. Frightened at first upon facing the spirit of his former lover, Zhang's terror soon gives way to renewed interest as they reminisce about their days of love. Before long, his lust is rekindled, for Yan Xijiao, be she ghost or not, she is more beautiful now than ever! In the end the two make a lasting union that is as gratifying to her as it is remarkable to him.
 
 

By Ben Wang
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