Juliet in Forbidden City.docVIP

Juliet in Forbidden City 　　While Romeo and Juliet were pas- sionately whispering their undying love to each other and readiness to defy parental anger， and even death， the audience was amazed to hear notes from the Kunqu Opera. Then a second beautiful heroine appeared on stage， a scene never imagined by William Shakespeare. 　　It was Du Liniang， the heroine of Peony Pavilion， the masterpiece of Tang Xianzu， the Chinese playwright who lived in the same age as Shakespeare. 　　The unusual spectacle at the Palace Museum， formerly the Forbidden City， the Chinese imperial palace for almost 500 years and the heart of the nation’s art， culture and literature， on September 28 was an effort to show how art transcends borders. Though Tang and the Bard of Avon lived on different continents and in different cultures， their works depict the same human passions of love， longing and despair. 　　“The celebrated author of Hamlet， Shakespeare， and Ming Dynasty playwright Tang Xianzu lived in the same period，” said Wang Yamin， Executive Deputy Director of Palace Museum. “Although they lived in different societies and had different backgrounds， both created beautiful works which continue to influence society.” 　　 Signs in history 　　History shows China has always encouraged cultural exchanges. The court of the Emperor Qianlong， the Qing Dynasty （1644-1911） ruler whose reign was one of the longest in China， exemplified Eastern and Western cultural exchanges， Wang said. The emperor was a connoisseur of art who read classics， encouraged translations and had Western artists paint in his palace. 　　Cultural links between China and the UK are strengthening， creating what British Prime Minister Theresa May has called a“golden era” of Sino-British cooperation and strategic partnership. Several high-level visits have contributed to this synergy. 　　In March， Prince William visited China， the first British royal to do so in nearly three decades. In October 2015， President Xi Jinping visited