Beijing opera
Encyclopedia
Peking opera or Beijing opera is a form of traditional Chinese theatre
which combines music, vocal performance, mime, dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing Dynasty
court and has come to be regarded as one of the cultural treasures of China. Major performance troupes are based in Beijing
and Tianjin
in the north, and Shanghai
in the south. The art form is also preserved in Taiwan
, where it is known as Guoju (國劇; pinyin: Guójù). It has also spread to other countries such as the United States and Japan.
Peking opera features four main types of performers. Performing troupes often have several of each variety, as well as numerous secondary and tertiary performers. With their elaborate and colorful costumes, performers are the only focal points on Peking opera's characteristically sparse stage. They utilize the skills of speech, song
, dance
, and combat
in movements that are symbolic and suggestive, rather than realistic. Above all else, the skill of performers is evaluated according to the beauty
of their movements. Performers also adhere to a variety of stylistic conventions that help audiences navigate the plot of the production. The layers of meaning within each movement must be expressed in time with music. The music of Peking opera can be divided into the Xipi and Erhuang styles. Melodies include aria
s, fixed-tune melodies, and percussion
patterns. The repertoire of Peking opera includes over 1,400 works, which are based on Chinese history, folklore
, and, increasingly, contemporary life.
Peking opera was denounced as 'feudalistic' and 'bourgeois' during the Cultural Revolution, and replaced with the eight revolutionary model operas
as a means of propaganda and indoctrination After the Cultural Revolution, these transformations were largely undone. In recent years, Peking opera has attempted numerous reforms in response to sagging audience
numbers. These reforms, which include improving performance quality, adapting new performance elements, and performing new and original plays, have met with mixed success.
In China the art form has been known by many other names in different times and places. The earliest Chinese name was a combination of the Xipi and Erhuang melodies, and was called Pihuang. As it increased in popularity, its name became Jingju or Jingxi, which reflected its start in the capital city, Jing, and the form of the performance, Xi. From 1927 to 1949, Beijing was known as Beiping, and Peking opera was known as Pingxi or Pingju (平劇) to reflect this change. Finally, with the establishment of the People's Republic of China, the name of the capital city was reverted to Beijing, and the formal name of Beijing theatre in Mainland China was established as Jingju. The Taiwanese name for this type of opera, Guoju, national theatre style, reflects disputes
over the true seat of the Chinese government.
Peking opera was born when the 'Four Great Anhui Troupes' brought Anhui opera, or what is now called Huiju
, to Beijing in 1790, for the birthday of the Qianlong Emperor
. It was originally staged for the court and only made available to the public later. In 1828, several famous Hubei troupes arrived in Beijing and performed jointly with Anhui troupes. The combination gradually formed Peking opera's melodies. Peking opera is generally regarded as having fully formed by 1845. Although it is called Peking opera (Beijing theatre style), its origins are in the southern Anhui
and eastern Hubei
, which share the same dialect of Xiajiang Mandarin (Lower Yangtze Mandarin). Peking opera's two main melodies
, Xipi and Erhuang, were derived from Anhui opera after about 1750. Xipi literally means 'Skin Puppet Show', referring to the puppet show that originated in Shaanxi province. Chinese puppet shows always involve singing. Much dialogue is also carried out in an archaic form of Mandarin Chinese, in which the Zhongyuan Mandarin
dialects of Henan and Shaanxi are closest. This form of Mandarin is recorded in the book Zhongyuan Yinyun. It also absorbed music from other operas and local zhili
musical art forms. Some scholars believe that the Xipi musical form was derived from the historic Qinqiang
, while many conventions of staging, performance elements, and aesthetic principles were retained from Kunqu
, the form that preceded it as court art.
Thus, Peking opera is not a monolithic form, but rather a coalescence of many older forms. However, the new form also creates its own innovations. The vocal requirements for all of the major roles were greatly reduced for Peking opera. The Chou, in particular, rarely has a singing part in Peking opera, unlike the equivalent role in Kunqu style. The melodies that accompany each play were also simplified, and are played with different traditional instruments than in earlier forms. Perhaps most noticeably, true acrobatic elements were introduced with Peking opera. The form grew in popularity throughout the 19th century. The Anhui troupes reached their peak of excellence in the middle of the century, and were invited to perform in the court of the Taiping Heavenly Kingdom that had been established during the Taiping Rebellion
. Beginning in 1884, the Empress Dowager Cixi
became a regular patron of Peking opera, cementing its status over earlier forms like Kunqu. The popularity of Peking opera has been attributed to the simplicity of the form, with only a few voices and singing patterns. This allowed anyone to sing the arias themselves.
Peking opera was initially an exclusively male pursuit. The Qianlong Emperor
had banned all female performers in Beijing in 1772. The appearance of women on the stage began unofficially during the 1870s. Female performers began to impersonate male roles and declared equality with men. They were given a venue for their talents when Li Maoer, himself a former Peking-opera performer, founded the first female Peking-opera troupe in Shanghai. By 1894, the first commercial venue showcasing female performance troupes appeared in Shanghai. This encouraged other female troupes to form, which gradually increased in popularity. As a result, theatre artist Yu Zhenting petitioned for the lifting of the ban after the founding of the Republic of China
in 1911. This was accepted, and the ban was lifted in 1912, although male Dan continued to be popular after this period.
, Peking opera became a focal point of identity for both involved parties. When the Communist Party of China
came to power in Mainland China in 1949, the newly formed government moved to bring art into line with Communist ideology, and "to make art and literature a component of the whole revolutionary machine". To this end, dramatic works without Communist themes were considered subversive, and were ultimately banned during the Cultural Revolution
(1966–1976).
The use of opera as a tool to transmit communist ideology reached its apogee in the Cultural Revolution, under the purview of Jiang Qing, wife of Mao Zedong
. The 'model operas' were considered one of the great achievements of the Cultural Revolution, and were meant to express Mao's view that "art must serve the interests of the workers, peasants, and soldiers and must conform to proletarian ideology."
Among the eight model plays eventually retained during that time were five Peking operas. Notable among these operas was The Legend of the Red Lantern
, which was approved as a concert with piano accompaniment based on a suggestion from Jiang Qing
. Performances of works beyond the eight model plays were allowed only in heavily modified form. The endings of many traditional plays were changed, and visible stage assistants in Peking opera were eliminated. After the end of the Cultural Revolution in the late 1970s, traditional Peking opera began to be performed again. Peking opera and other theatrical art forms were a controversial subject both before and during the Twelfth National People's Congress in 1982. A study carried in the People's Daily
revealed that over 80 percent of musical dramas staged in the country were traditional plays from the pre-Communist era, as opposed to newly written historical dramas promoting socialist values. In response, Communist party officials enacted reforms to curb liberalism and foreign influence in theatrical works.
After the retreat of the Republic of China
to Taiwan in 1949, Peking opera there took on a special status of "political symbolism", in which the Kuomintang
government encouraged the art form over other forms of performance in an attempt to claim a position as the sole representative of Chinese culture. This often occurred at the expense of traditional Taiwanese opera
. Due to its status as a prestigious art form with a long history, Peking opera has indeed been studied more and received more monetary support than other forms of theater in Taiwan. However, there has also been a competing movement towards advocating native opera to differentiate Taiwan from the mainland. In September 1990, when the Kuomintang government participated in a state-sponsored mainland cultural event for the first time, a Taiwanese opera group was sent, possibly to emphasize "Taiwaneseness".
In addition to more formal reform measures, Peking-opera troupes during the 1980s also adopted more unofficial changes. Some of those seen in traditional works have been called "technique for technique's sake". This has included the use of extended high pitch sequences by female Dan, and the addition of lengthier movement sections and percussion sequences to traditional works. Such changes have generally met with disdain from Peking-opera performers, who see them as ploys to gain immediate audience appeal. Plays with repetitive sequences have also been shortened to hold audience interest. New works have naturally experienced a greater freedom to experiment. Regional, popular, and foreign techniques have been adopted, including Western style makeup and beards and new face paint designs for Jing characters. The spirit of reform continued during the 1990s. To survive in an increasingly open market, troupes like the Shanghai Peking Opera Company needed to bring traditional Peking opera to new audiences. To do this, they have offered an increasing number of free performances in public places.
There has also been a general feeling of a shift in the creative attribution of Peking-opera works. The performer has traditionally played a large role in the scripting and staging of Peking-opera works. However, perhaps following the lead of the West, Peking opera in recent decades has shifted to a more director and playwright centered model. Performers have striven to introduce innovation in their work while heeding the call for reform from this new upper level of Peking-opera producers.
Channel CCTV-11
in Mainland China is currently dedicated to broadcasting classic Chinese opera productions, including Peking opera.
, one of the most famous Dan performers of all time, was also one of the greatest popularizers of Peking opera abroad. During the 1920s, he performed Peking opera in Japan. This inspired an American tour in February 1930. Although some, such as the actor Otis Skinner
, believed that Peking opera could never be a success in the United States, the favorable reception of Lanfang and his troupe in New York City disproved this notion. The performances had to be relocated from the 49th Street Theater to the larger National Theater, and the duration of the tour extended from two weeks to five. Lanfang traveled across the United States, receiving honorary degrees from the University of California
and Pomona College
. He followed this tour with a tour in the Soviet Union
in 1935.
Performers are first trained in acrobatics, followed by singing and gestures. Several performing schools, all based on the styles of famous performers, are taught. Some examples are the Mei Lanfang
school, the Cheng Yanqiu
school, the Ma Lianliang school, and the Qi Lintong school. Students previously trained exclusively in the art of performance, but modern performance schools now include academic studies as well. Teachers assess the qualifications of each student and assign them roles as primary, secondary, or tertiary characters accordingly. Students with little acting talent often become Peking-opera musicians. They may also serve as the supporting cast of foot soldiers, attendants, and servants that is present in every Peking-opera troupe. In Taiwan, the Ministry of National Defense of the Republic of China runs a national Peking-opera training school.
, the first Song Dynasty
emperor. Young male characters are known as . These characters sing in a high, shrill voice with occasional breaks to represent the voice changing period of adolescence. Depending on the character's rank in society, the costume of the xiaosheng may be either elaborate or simple. Off-stage, actors are often involved with beautiful women by virtue of the handsome and young image they project. The is a martial character for roles involving combat. They are highly trained in acrobatics, and have a natural voice when singing. Troupes will always have a actor. A actor may also be added to play roles fitting to his age. In addition to these main , the troupe will also have a secondary .
, Cheng Yanqiu
, Shang Xiaoyun
, and Xun Huisheng
. In the early years of Peking opera, all roles were played by men. Wei Changsheng, a male performer in the Qing court, developed the , or "false foot" technique, to simulate the bound feet of women and the characteristic gait that resulted from the practice. The ban on female performers also led to a controversial form of brothel, known as the , in which men paid to have sex with young boys dressed as females. Ironically, the performing skills taught to the youths employed in these brothels led many of them to become professional later in life.
of the Mandarin Chinese word , meaning "ugly". This reflects the traditional belief that the clown's combination of ugliness and laughter could drive away evil spirits. roles can be divided into , civilian roles such as merchant
s and jailers, and , minor military roles. The is one of the most demanding in Peking opera, because of its combination of comic acting, acrobatics, and a strong voice. characters are generally amusing and likable, if a bit foolish. Their costumes range from simple for characters of lower status to elaborate, perhaps overly so, for high status characters. characters wear special face paint, called , that differs from that of characters. The defining characteristic of this type of face paint is a small patch of white chalk around the nose. This can represent either a mean and secretive nature or a quick wit.
Beneath the whimsical persona of the , a serious connection to the form of Peking opera exists. The is the character most connected to the , the drum
s and clapper commonly used for musically accompaniment during performances. The actor often uses the in solo performance, especially when performing , light-hearted verses spoken for comedic effect. The clown is also connected to the small gong
and cymbal
s, percussion instruments that symbolize the lower classes and the raucous atmosphere inspired by the role. Although characters do not sing frequently, their arias feature large amounts of improvisation
. This is considered a license of the role, and the orchestra will accompany the actor even as he bursts into an unscripted folk song. However, due to the standardization of Peking opera and political pressure from government authorities, improvisation has lessened in recent years. The has a vocal timbre that is distinct from other characters, as the character will often speak in the common Beijing dialect
, as opposed to the more formal dialects of other characters.
, pantomime
, and all other types of dance. The final skill is combat
, which includes both acrobatics
and fighting with all manner of weapon
ry. All of these skills are expected to be performed effortlessly, in keeping with the spirit of the art form.
Many performances deal with behaviors that occur in daily life. However, in accordance with the overriding principle of beauty, such behaviors are stylized to be presented on stage. Peking opera does not aim to accurately represent reality. Experts of the art form contrast the principles of Peking opera with the principle of Mo, mimes or imitation, that is found in western dramas. Peking opera should be suggestive, not imitative. The literal aspects of scenes are removed or stylized to better represent intangible emotions and characters. The most common stylization method in Peking opera is roundness. Every motion and pose is carefully manipulated to avoid sharp angles and straight lines. A character looking upon an object above them will sweep their eyes in a circular motion from low to high before landing on the object. Similarly, a character will sweep their hand in an arc from left to right in order to indicate an object on the right. This avoidance of sharp angles extends to three dimensional movement as well; reversals of orientation often take the form of a smooth, S-shaped curve. All of these general principles of aesthetics are present within other performance elements as well.
The length and internal structure of Peking-opera plays is highly variable. Prior to 1949, zhezixi, short plays or plays made up of short scenes from longer plays, were often performed. These plays usually center on one simple situation or feature a selection of scenes designed to include all four of the main Peking opera skills and showcase the virtuosity of the performers. This format has become less prevalent in recent times, but plays of one act are still performed. These short works, as well as individual scenes within longer works, are marked by an emotional progression from the beginning of the play to the end. For example, the concubine in the one act play The Favorite Concubine Becomes Intoxicated begins in a state of joy, and then moves to anger and jealousy, drunken playfulness, and finally to a feeling of defeat and resignation. A full-length play usually has from six to fifteen or more scenes. The overall story in these longer works is told through contrasting scenes. Plays will alternate between civil and martial scenes, or scenes involve protagonists and antagonists. There are several major scenes within the work that follow the pattern of emotional progression. It is these scenes that are usually excerpted for later zhezixi productions. Some of the most complex plays may even have an emotional progression from scene to scene.
Due to the scarcity of props in Peking opera, costumes take on added importance. Costumes function first to distinguish the rank of the character being played. Emperors and their families wear yellow robes, and high ranking officials wear purple. The robe worn by these two classes is called a mang, or python robe. It is a costume suitable for the high rank of the character, featuring brilliant colors and rich embroidery, often in the design of a dragon. Persons of high rank or virtue wear red, lower ranking officials wear blue, young characters wear white, the old wear white, brown, or olive, and all other men wear black. On formal occasions, lower officials may wear the kuan yi, a simple gown with patches of embroidery on both the front and back. All other characters, and officials on informal occasions, wear the chezi, a basic gown with varying levels of embroidery and no jade girdle to denote rank. All three types of gowns have water sleeves, long flowing sleeves that can be flicked and waved like water, attached to facilitate emotive gestures. Tertiary characters of no rank wear simple clothing without embroidery. Hats are intended to blend in with the rest of the costume and will usually have a matching level of embroidery. Shoes may be high or low soled, the former being worn by characters of high rank, and the latter by characters of low rank or acrobatic characters.
In Chinese opera, breath is based in the pubic region and supported by the abdominal muscles. Performers follow the basic principle that "Strong centralized breath moves the melodic-passages" (zhong qi xing xiang). Breath is visualized being drawn up through a central breathing cavity extending from the pubic region to the top of the head. This "cavity" must be under the performer's control at all times, and he or she develops special techniques to control both entering and exiting air. The two major methods of taking in breath are known as "exchanging breath" (huan qi) and "stealing breath" (tou qi). "Exchanging breath" is a slow, unhurried process of breathing out old air and taking in new. It is used at moments when the performer is not under time constraint, such as during a purely instrumental musical passage or when another character is speaking. "Stealing breath" is a sharp intake of air without prior exhalation, and is used during long passages of prose or song when a pause would be undesirable. Both techniques should be invisible to the audience and take in only the precise amount of air required for the intended vocalization. The most important principle in exhalation is "saving the breath" (cun qi). Breath should not be expended all at once at the beginning of a spoken or sung passage, but rather expelled slowly and evenly over its length. Most songs and some prose contain precise written intervals for when breath should be "exchanged" or "stolen". These intervals are often marked by carats.
Pronunciation is conceptualized as shaping the throat and mouth into the shape necessary to produce the desired vowel sound, and clearly articulating the initial consonant. There are four basic shapes for the throat and mouth, corresponding to four vowel types, and five methods of articulating consonants, one for each type of consonant. The four throat and mouth shapes are "opened-mouth" (kaikou), "level-teeth" (qichi), "closed-mouth" (hekou or huokou), and "scooped-lips" (cuochun). The five consonant types are denoted by the portion of the mouth most critical to each type's production: throat, or larynx (hou); tongue (she); molars, or the jaws and palate (chi); front teeth (ya); and lips (chun).
Some syllables (written Chinese characters) have special pronunciations in Peking opera. This is due to the collaboration with regional forms and kunqu
that occurred during the development of Peking opera. For example, 你, meaning "you", may be pronounced li, as it is in the Anhui dialect, rather than the Standard Chinese ni. 我, meaning "I" and pronounced wo in Standard Chinese, becomes ngo, as it is pronounced in the dialect of Suzhou
. In addition to pronunciation differences that are due to the influence of regional forms, the readings of some characters have been changed to promote ease of performance or vocal variety. For example, zhi, chi, she, and ri sounds do not carry well and are difficult to sustain, because they are produced far back in the mouth. Therefore, they are performed with an additional i sound, as in zhii.
These techniques and conventions of vocal production are used to create the two main categories of vocalizations in Peking opera: stage speech and song.
and Modern Standard Chinese with some slang terms added for color. The social position of the character being played determines the type of language that he or she uses. Peking opera features three major types of stage speech (nianbai). Monologues and dialogue, which make up the majority of most plays, consist of prose speeches. The purpose of prose speech is to advance the plot of the play or inject humor into a scene. They are usually short, and are performed mostly using vernacular language. However, as Elizabeth Wichmann points out, they also have rhythmic and musical elements, achieved through the "stylized articulation of monosyllabic sound units" and the "stylized pronunciation of speech-tones", respectively. Prose speeches were frequently improvised during the early period of Peking opera's development, and chou performers carry on that tradition today.
The second main type of stage speech consists of quotations drawn from classical Chinese poetry. This type is rarely used in Peking opera; plays have one or two such quotations at most, and often none at all. In most instances, the use of classical poetry is intended to heighten the impact of a scene. However, Chou and more whimsical Dan characters may misquote or misinterpret the classical lines, creating a comic effect.
The final category of stage speech is conventionalized stage speeches (chengshi nianbai). These are rigid formulations that mark important transition points. When a character enters for the first time, an "entrance speech" (shangchang) or "self-introduction speech" (zi bao jiamen) is given, which includes a prelude poem, a set-the-scene poem, and a prose set-the-scene speech, in that order. The style and structure of each entrance speech is inherited from earlier Yuan Dynasty
, Ming Dynasty
, folk, and regional forms of Chinese opera. Another conventionalized stage speech is the exit speech, which may take the form of a poem followed by a single spoken line. This speech is usually delivered by a supporting character, and describes his or her present situation and state of mind. Finally, there is the recapitulation speech, in which a character will use prose to recount the story up to that point. These speeches came about as a result of the zhezixi tradition of performing only one part of a larger play.
Songs in Peking opera are proscribed by a set of common aesthetic values. A majority of songs are within a pitch range of an octave and a fifth. High pitch is a positive aesthetic value, so a performer will pitch songs at the very top of his or her vocal range. For this reason, the idea of a song's key has value in Peking opera only as a technical tool for the performer. Different performers in the same performance may sing in different keys, requiring the accompanying musicians to constantly retune their instruments or switch out with other players. Elizabeth Wichmann describes the ideal basic timbre for Peking opera songs as a "controlled nasal tone". Performers make extensive use of vocal vibrato during songs, in a way that is "slower" and "wider" than vibrato used in Western performances. The Peking opera aesthetic for songs is summed up by the expression zi zheng qiang yuan, meaning that the written characters should be delivered accurately and precisely, and the melodic passages should be weaving, or "round".
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The accompaniment for a Peking opera performance usually consists of a small ensemble of traditional melodic and percussion instruments. The lead melodic instrument is the jinghu, a small, high-pitched, two-string spike fiddle. The jinghu is the primary accompaniment for performers during songs. Accompaniment is heterophonic – the jinghu player follows the basic contours of the song's melody, but diverges in pitch and other elements. The jinghu often plays more notes per measure than the performer sings, and does so an octave lower. During rehearsal, the jinghu player adopts his or her own signature version of the song's melody, but also must adapt to spontaneous improvisations on the part of the performer due to changed performance conditions. Thus, the jinghu player must have an instinctive ability to change his or her performance without warning to properly accompany the performer.
The second is the circular bodied plucked lute, the yueqin
. Percussion instruments include the daluo, xiaoluo, and naobo. The player of the gu and ban, a small high pitch drum and clapper, is the conductor of the entire ensemble. The two main musical styles of Peking opera, Xipi and Erhuang, originally differed in subtle ways. In the Xipi style, the strings of the jinghu are tuned to the keys of A and D. The melodies in this style are very disjointed, possibly reflecting the style's derivation from the high and loud melodies of the Qinqiang opera of northwestern China. It is commonly used to tell joyous stories. In Erhuang, on the other hand, the strings are tuned to the keys of C and G. This reflects the low, soft, and despondent folk tunes of south-central Hubei
province, the style's place of origin. As a result, it is used for lyrical stories. Both musical styles have a standard meter of two beats per bar. The two musical styles share six different tempos, including manban (a slow tempo), yuanban (a standard, medium-fast tempo), kuai sanyan ("leading beat"), daoban ("leading beat"), sanban ("rubato beat"), and yaoban ("shaking beat"). The xipi style also utilizes several unique tempos, including erliu ("two-six"), and kuaiban (a fast tempo). Of these tempos, yuanban, manban, and kuaiban are most commonly seen. The tempo at any given time is controlled by a percussion player who acts as director. Erhuang has been seen as more improvisational, and Xipi as more tranquil. The lack of defined standards among performance troupes and the passage of time may have made the two styles more similar to each other today.
The melodies played by the accompaniment mainly fall into three broad categories. The first is the aria. The arias of Peking opera can be further divided into those of the Erhuang and Xipi varieties. An example of an aria is wawa diao, an aria in the Xipi style that is sung by a young Sheng to indicate heightened emotion. The second type of melody heard in Peking opera is the fixed-tune melody, or qupai. These are instrumental tunes that serve a wider range of purposes than arias. Examples include the "Water Dragon Tune" (shui long yin), which generally denotes the arrival of an important person, and "Triple Thrust"(ji san qiang), which may signal a feast or banquet. The final type of musical accompaniment is the percussion pattern. Such patterns provide context to the music in ways similar to the fixed-tune melodies. For example, there are as many as 48 different percussion patterns that accompany stage entrances. Each one identifies the entering character by his or her individual rank and personality.
The repertoire of Peking opera includes nearly 1,400 works. The plays are mostly taken from historical novels or traditional stories about civil, political and military struggles. Early plays were often adaptations from earlier Chinese theatre styles, such as kunqu. Nearly half of 272 plays listed in 1824 were derived from earlier styles. With such a large number of plays, it is not surprising that many different classification systems have been used over time to sort them. Two traditional methods have existed since Peking opera first appeared in China. The oldest and most generally used system is to sort plays into civil and martial types. Civil plays focus on the relationships between characters, and feature personal, domestic, and romantic situations. The element of singing is frequently used to express emotion in this type of play. Martial plays feature a greater emphasis on action and combat skill. The two types of play also feature different arrays of performers. Martial plays predominantly feature young sheng, jing, and chou, while civil plays have a greater need for older roles and dan. In addition to being civil or martial, plays are also classified as either daxi (serious) or xiaoxi (light). The performance elements and performers used in serious and light plays greatly resemble those used in martial and civil plays, respectively. Of course, the aesthetic principle of synthesis frequently leads to the use of these contrasting elements in combination, yielding plays that defy such dichotomous classification.
Since 1949, a more detailed classification system has been put into use based on thematic content and the historical period of a play's creation. The first category in this system is chuantongxi, traditional plays that were in performance prior to 1949. The second category is xinbian de lishixi, historical plays written after 1949. This type of play was not produced at all during the Cultural Revolution, but is a major focus today. The final category is xiandaixi, contemporary plays. The subject matter of these plays is taken from the 20th century and beyond. Contemporary productions are also frequently experimental in nature, and may incorporate Western influences. In the second half of the 20th century, Western works have increasingly been adapted for Peking opera. The works of Shakespeare have been especially popular. The movement to adapt Shakespeare to the stage has encompassed all forms of Chinese theatre. Peking opera in particular has seen versions of A Midsummer Night's Dream
and King Lear
, among others.
, a director of the pre-Communist era, utilized Peking opera in a number of plays, sometimes within "Westernized", realistic plots. King Hu
, a later Chinese film director, utilized many of the formal norms of Peking opera in his films, such as the parallelism between music, voice, and gesture. In the 1993 film Farewell My Concubine, by Chen Kaige
, Peking opera serves as the object of pursuit for the protagonists and a backdrop for their romance. However, the film's portrayal of Peking opera has been criticized as one-dimensional. Chen returned to the subject again in 2008 with the Mei Lanfang
biopic Forever Enthralled. Peking opera is also featured in Peking Opera Blues
by Tsui Hark
.
, Zhengyici-xi-lou
and Huguang Guild Hall
, being among them. However, modern venues for the general operatic and theatre stage are also common, such as the National Centre for the Performing Arts, and the Chang'an Grand Theatre
located on the East Chang'an Avenue is an example of modern Peking opera theatre.
Chinese opera
Chinese opera is a popular form of drama and musical theatre in China with roots going back as far as the third century CE...
which combines music, vocal performance, mime, dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing Dynasty
Qing Dynasty
The Qing Dynasty was the last dynasty of China, ruling from 1644 to 1912 with a brief, abortive restoration in 1917. It was preceded by the Ming Dynasty and followed by the Republic of China....
court and has come to be regarded as one of the cultural treasures of China. Major performance troupes are based in Beijing
Beijing
Beijing , also known as Peking , is the capital of the People's Republic of China and one of the most populous cities in the world, with a population of 19,612,368 as of 2010. The city is the country's political, cultural, and educational center, and home to the headquarters for most of China's...
and Tianjin
Tianjin
' is a metropolis in northern China and one of the five national central cities of the People's Republic of China. It is governed as a direct-controlled municipality, one of four such designations, and is, thus, under direct administration of the central government...
in the north, and Shanghai
Shanghai
Shanghai is the largest city by population in China and the largest city proper in the world. It is one of the four province-level municipalities in the People's Republic of China, with a total population of over 23 million as of 2010...
in the south. The art form is also preserved in Taiwan
Taiwan
Taiwan , also known, especially in the past, as Formosa , is the largest island of the same-named island group of East Asia in the western Pacific Ocean and located off the southeastern coast of mainland China. The island forms over 99% of the current territory of the Republic of China following...
, where it is known as Guoju (國劇; pinyin: Guójù). It has also spread to other countries such as the United States and Japan.
Peking opera features four main types of performers. Performing troupes often have several of each variety, as well as numerous secondary and tertiary performers. With their elaborate and colorful costumes, performers are the only focal points on Peking opera's characteristically sparse stage. They utilize the skills of speech, song
Song
In music, a song is a composition for voice or voices, performed by singing.A song may be accompanied by musical instruments, or it may be unaccompanied, as in the case of a cappella songs...
, dance
Dance
Dance is an art form that generally refers to movement of the body, usually rhythmic and to music, used as a form of expression, social interaction or presented in a spiritual or performance setting....
, and combat
Combat
Combat, or fighting, is a purposeful violent conflict meant to establish dominance over the opposition, or to terminate the opposition forever, or drive the opposition away from a location where it is not wanted or needed....
in movements that are symbolic and suggestive, rather than realistic. Above all else, the skill of performers is evaluated according to the beauty
Beauty
Beauty is a characteristic of a person, animal, place, object, or idea that provides a perceptual experience of pleasure, meaning, or satisfaction. Beauty is studied as part of aesthetics, sociology, social psychology, and culture...
of their movements. Performers also adhere to a variety of stylistic conventions that help audiences navigate the plot of the production. The layers of meaning within each movement must be expressed in time with music. The music of Peking opera can be divided into the Xipi and Erhuang styles. Melodies include aria
Aria
An aria in music was originally any expressive melody, usually, but not always, performed by a singer. The term is now used almost exclusively to describe a self-contained piece for one voice usually with orchestral accompaniment...
s, fixed-tune melodies, and percussion
Percussion instrument
A percussion instrument is any object which produces a sound when hit with an implement or when it is shaken, rubbed, scraped, or otherwise acted upon in a way that sets the object into vibration...
patterns. The repertoire of Peking opera includes over 1,400 works, which are based on Chinese history, folklore
Chinese folklore
Chinese folklore includes songs, dances, puppetry, and tales. It often tells stories of human nature, historical or legendary events, love, and the supernatural, or stories explaining natural phenomena and distinctive landmarks.-Folktales:...
, and, increasingly, contemporary life.
Peking opera was denounced as 'feudalistic' and 'bourgeois' during the Cultural Revolution, and replaced with the eight revolutionary model operas
Revolutionary opera
Revolutionary opera refers to the model operas planned and engineered during the Cultural Revolution by Jiang Qing, the wife of Chairman Mao Zedong...
as a means of propaganda and indoctrination After the Cultural Revolution, these transformations were largely undone. In recent years, Peking opera has attempted numerous reforms in response to sagging audience
Audience
An audience is a group of people who participate in a show or encounter a work of art, literature , theatre, music or academics in any medium...
numbers. These reforms, which include improving performance quality, adapting new performance elements, and performing new and original plays, have met with mixed success.
Etymology
"Peking opera" is the English term for the art form; the term entered the Oxford English Dictionary in 1953. Beijing opera is a more recent equivalent.In China the art form has been known by many other names in different times and places. The earliest Chinese name was a combination of the Xipi and Erhuang melodies, and was called Pihuang. As it increased in popularity, its name became Jingju or Jingxi, which reflected its start in the capital city, Jing, and the form of the performance, Xi. From 1927 to 1949, Beijing was known as Beiping, and Peking opera was known as Pingxi or Pingju (平劇) to reflect this change. Finally, with the establishment of the People's Republic of China, the name of the capital city was reverted to Beijing, and the formal name of Beijing theatre in Mainland China was established as Jingju. The Taiwanese name for this type of opera, Guoju, national theatre style, reflects disputes
Political status of Taiwan
The controversy regarding the political status of Taiwan hinges on whether Taiwan, Penghu, Kinmen, and Matsu should remain effectively independent as territory of the Republic of China , become unified with the territories now governed by the People's Republic of China , or formally declare...
over the true seat of the Chinese government.
Origins
Huiju
Huiju is a variety of Chinese opera from the east-central province of Anhui, China, and was formerly also popular in neighboring Zhejiang...
, to Beijing in 1790, for the birthday of the Qianlong Emperor
Qianlong Emperor
The Qianlong Emperor was the sixth emperor of the Manchu-led Qing Dynasty, and the fourth Qing emperor to rule over China proper. The fourth son of the Yongzheng Emperor, he reigned officially from 11 October 1735 to 8 February 1796...
. It was originally staged for the court and only made available to the public later. In 1828, several famous Hubei troupes arrived in Beijing and performed jointly with Anhui troupes. The combination gradually formed Peking opera's melodies. Peking opera is generally regarded as having fully formed by 1845. Although it is called Peking opera (Beijing theatre style), its origins are in the southern Anhui
Anhui
Anhui is a province in the People's Republic of China. Located in eastern China across the basins of the Yangtze River and the Huai River, it borders Jiangsu to the east, Zhejiang to the southeast, Jiangxi to the south, Hubei to the southwest, Henan to the northwest, and Shandong for a tiny...
and eastern Hubei
Hubei
' Hupeh) is a province in Central China. The name of the province means "north of the lake", referring to its position north of Lake Dongting...
, which share the same dialect of Xiajiang Mandarin (Lower Yangtze Mandarin). Peking opera's two main melodies
Four Great Characteristic Melodies
Four Great Characteristic Melodies in Chinese opera are Bangziqiang, Huangpiqiang, Kunqiang and Gaoqiang.-Bangziqiang:Qinqiang, Yuju, Jinju, Hebei Bangzi, Sixianqiang in Dianju, Tanxi in Chuanju, etc.-Huangpiqiang:...
, Xipi and Erhuang, were derived from Anhui opera after about 1750. Xipi literally means 'Skin Puppet Show', referring to the puppet show that originated in Shaanxi province. Chinese puppet shows always involve singing. Much dialogue is also carried out in an archaic form of Mandarin Chinese, in which the Zhongyuan Mandarin
Zhongyuan Mandarin
Central Plains or Zhongyuan Mandarin is a dialect of Mandarin Chinese spoken in the central part of Shaanxi, Henan, and southern part of Shandong.The archaic dialect of Peking opera is a form of Zhongyuan Mandarin....
dialects of Henan and Shaanxi are closest. This form of Mandarin is recorded in the book Zhongyuan Yinyun. It also absorbed music from other operas and local zhili
Zhili
Zhílì was a northern province in China from the Ming Dynasty until the province was dissolved in 1928 during the Republic of China era.-History:...
musical art forms. Some scholars believe that the Xipi musical form was derived from the historic Qinqiang
Qinqiang
Qinqiang or Luantan is the representative folk Chinese opera of the northwest Province of Shaanxi, China, where it was called Qin thousands of years ago. Its melodies were originated from the rural areas of ancient Shaanxi and Gansu...
, while many conventions of staging, performance elements, and aesthetic principles were retained from Kunqu
Kunqu
Kunqu , also known as Kunju , Kun opera or Kunqu Opera, is one of the oldest extant forms of Chinese opera. It evolved from the Kunshan melody, and dominated Chinese theatre from the 16th to the 18th centuries. The style originated in the Wu cultural area...
, the form that preceded it as court art.
Thus, Peking opera is not a monolithic form, but rather a coalescence of many older forms. However, the new form also creates its own innovations. The vocal requirements for all of the major roles were greatly reduced for Peking opera. The Chou, in particular, rarely has a singing part in Peking opera, unlike the equivalent role in Kunqu style. The melodies that accompany each play were also simplified, and are played with different traditional instruments than in earlier forms. Perhaps most noticeably, true acrobatic elements were introduced with Peking opera. The form grew in popularity throughout the 19th century. The Anhui troupes reached their peak of excellence in the middle of the century, and were invited to perform in the court of the Taiping Heavenly Kingdom that had been established during the Taiping Rebellion
Taiping Rebellion
The Taiping Rebellion was a widespread civil war in southern China from 1850 to 1864, led by heterodox Christian convert Hong Xiuquan, who, having received visions, maintained that he was the younger brother of Jesus Christ, against the ruling Manchu-led Qing Dynasty...
. Beginning in 1884, the Empress Dowager Cixi
Empress Dowager Cixi
Empress Dowager Cixi1 , of the Manchu Yehenara clan, was a powerful and charismatic figure who became the de facto ruler of the Manchu Qing Dynasty in China for 47 years from 1861 to her death in 1908....
became a regular patron of Peking opera, cementing its status over earlier forms like Kunqu. The popularity of Peking opera has been attributed to the simplicity of the form, with only a few voices and singing patterns. This allowed anyone to sing the arias themselves.
Peking opera was initially an exclusively male pursuit. The Qianlong Emperor
Qianlong Emperor
The Qianlong Emperor was the sixth emperor of the Manchu-led Qing Dynasty, and the fourth Qing emperor to rule over China proper. The fourth son of the Yongzheng Emperor, he reigned officially from 11 October 1735 to 8 February 1796...
had banned all female performers in Beijing in 1772. The appearance of women on the stage began unofficially during the 1870s. Female performers began to impersonate male roles and declared equality with men. They were given a venue for their talents when Li Maoer, himself a former Peking-opera performer, founded the first female Peking-opera troupe in Shanghai. By 1894, the first commercial venue showcasing female performance troupes appeared in Shanghai. This encouraged other female troupes to form, which gradually increased in popularity. As a result, theatre artist Yu Zhenting petitioned for the lifting of the ban after the founding of the Republic of China
Republic of China
The Republic of China , commonly known as Taiwan , is a unitary sovereign state located in East Asia. Originally based in mainland China, the Republic of China currently governs the island of Taiwan , which forms over 99% of its current territory, as well as Penghu, Kinmen, Matsu and other minor...
in 1911. This was accepted, and the ban was lifted in 1912, although male Dan continued to be popular after this period.
Model "revolutionary opera" and Peking opera in Taiwan
After the Chinese Civil WarChinese Civil War
The Chinese Civil War was a civil war fought between the Kuomintang , the governing party of the Republic of China, and the Communist Party of China , for the control of China which eventually led to China's division into two Chinas, Republic of China and People's Republic of...
, Peking opera became a focal point of identity for both involved parties. When the Communist Party of China
Communist Party of China
The Communist Party of China , also known as the Chinese Communist Party , is the founding and ruling political party of the People's Republic of China...
came to power in Mainland China in 1949, the newly formed government moved to bring art into line with Communist ideology, and "to make art and literature a component of the whole revolutionary machine". To this end, dramatic works without Communist themes were considered subversive, and were ultimately banned during the Cultural Revolution
Cultural Revolution
The Great Proletarian Cultural Revolution, commonly known as the Cultural Revolution , was a socio-political movement that took place in the People's Republic of China from 1966 through 1976...
(1966–1976).
The use of opera as a tool to transmit communist ideology reached its apogee in the Cultural Revolution, under the purview of Jiang Qing, wife of Mao Zedong
Mao Zedong
Mao Zedong, also transliterated as Mao Tse-tung , and commonly referred to as Chairman Mao , was a Chinese Communist revolutionary, guerrilla warfare strategist, Marxist political philosopher, and leader of the Chinese Revolution...
. The 'model operas' were considered one of the great achievements of the Cultural Revolution, and were meant to express Mao's view that "art must serve the interests of the workers, peasants, and soldiers and must conform to proletarian ideology."
Among the eight model plays eventually retained during that time were five Peking operas. Notable among these operas was The Legend of the Red Lantern
The Legend of the Red Lantern
The Legend of the Red Lantern is one of the Eight model plays, the only operas and ballets permitted during the Cultural Revolution in China. The official version was that of a Beijing Opera...
, which was approved as a concert with piano accompaniment based on a suggestion from Jiang Qing
Jiang Qing
Jiang Qing was the pseudonym that was used by Chinese leader Mao Zedong's last wife and major Communist Party of China power figure. She went by the stage name Lan Ping during her acting career, and was known by various other names during her life...
. Performances of works beyond the eight model plays were allowed only in heavily modified form. The endings of many traditional plays were changed, and visible stage assistants in Peking opera were eliminated. After the end of the Cultural Revolution in the late 1970s, traditional Peking opera began to be performed again. Peking opera and other theatrical art forms were a controversial subject both before and during the Twelfth National People's Congress in 1982. A study carried in the People's Daily
People's Daily
The People's Daily is a daily newspaper in the People's Republic of China. The paper is an organ of the Central Committee of the Communist Party of China , published worldwide with a circulation of 3 to 4 million. In addition to its main Chinese-language edition, it has editions in English,...
revealed that over 80 percent of musical dramas staged in the country were traditional plays from the pre-Communist era, as opposed to newly written historical dramas promoting socialist values. In response, Communist party officials enacted reforms to curb liberalism and foreign influence in theatrical works.
After the retreat of the Republic of China
Republic of China
The Republic of China , commonly known as Taiwan , is a unitary sovereign state located in East Asia. Originally based in mainland China, the Republic of China currently governs the island of Taiwan , which forms over 99% of its current territory, as well as Penghu, Kinmen, Matsu and other minor...
to Taiwan in 1949, Peking opera there took on a special status of "political symbolism", in which the Kuomintang
Kuomintang
The Kuomintang of China , sometimes romanized as Guomindang via the Pinyin transcription system or GMD for short, and translated as the Chinese Nationalist Party is a founding and ruling political party of the Republic of China . Its guiding ideology is the Three Principles of the People, espoused...
government encouraged the art form over other forms of performance in an attempt to claim a position as the sole representative of Chinese culture. This often occurred at the expense of traditional Taiwanese opera
Taiwanese opera
Taiwanese opera is the only form of Han traditional drama known to have originated in Taiwan. The language used is a stylized combination of both literary and colloquial registers of Taiwanese. Its earliest form adopted elements of folk songs from Zhangzhou, Fujian, China...
. Due to its status as a prestigious art form with a long history, Peking opera has indeed been studied more and received more monetary support than other forms of theater in Taiwan. However, there has also been a competing movement towards advocating native opera to differentiate Taiwan from the mainland. In September 1990, when the Kuomintang government participated in a state-sponsored mainland cultural event for the first time, a Taiwanese opera group was sent, possibly to emphasize "Taiwaneseness".
Modern Peking opera
During the second half of the 20th century, Peking opera witnessed a steady decline in audience numbers. This has been attributed both to a decrease in performance quality and an inability of the traditional opera form to capture modern life. Furthermore, the archaic language of Peking opera required productions to utilize electronic subtitles, which hampered the development of the form. The influence of Western culture has also left the younger generations impatient with the slow pacing of Peking opera. In response, Peking opera began to see reform starting in the 1980s. Such reforms have taken the form of creating a school of performance theory to increase performance quality, utilizing modern elements to attract new audiences, and performing new plays outside of the traditional canon. However, these reforms have been hampered by both a lack of funding and an adverse political climate that makes the performance of new plays difficult.In addition to more formal reform measures, Peking-opera troupes during the 1980s also adopted more unofficial changes. Some of those seen in traditional works have been called "technique for technique's sake". This has included the use of extended high pitch sequences by female Dan, and the addition of lengthier movement sections and percussion sequences to traditional works. Such changes have generally met with disdain from Peking-opera performers, who see them as ploys to gain immediate audience appeal. Plays with repetitive sequences have also been shortened to hold audience interest. New works have naturally experienced a greater freedom to experiment. Regional, popular, and foreign techniques have been adopted, including Western style makeup and beards and new face paint designs for Jing characters. The spirit of reform continued during the 1990s. To survive in an increasingly open market, troupes like the Shanghai Peking Opera Company needed to bring traditional Peking opera to new audiences. To do this, they have offered an increasing number of free performances in public places.
There has also been a general feeling of a shift in the creative attribution of Peking-opera works. The performer has traditionally played a large role in the scripting and staging of Peking-opera works. However, perhaps following the lead of the West, Peking opera in recent decades has shifted to a more director and playwright centered model. Performers have striven to introduce innovation in their work while heeding the call for reform from this new upper level of Peking-opera producers.
Channel CCTV-11
CCTV-11
CCTV-11 is the Chinese opera channel of the CCTV Network in the People's Republic of China.-Programming:* Film and Television Theater* Local Opera* Pear Garden Appreciation* Studies with Me...
in Mainland China is currently dedicated to broadcasting classic Chinese opera productions, including Peking opera.
Peking opera around the world
In addition to its presence in Mainland China, Peking opera has spread to many other places. It can be found in Hong Kong, Taiwan, and overseas Chinese communities elsewhere. Mei LanfangMéi Lánfang
Mei Lanfang was one of the most famous Beijing opera artists in modern history, exclusively known for his qingyi roles, a type of dan role. Méi Lánfāng is his stage name, and in Chinese it is generally considered a feminine name. His real name was Méi Lán...
, one of the most famous Dan performers of all time, was also one of the greatest popularizers of Peking opera abroad. During the 1920s, he performed Peking opera in Japan. This inspired an American tour in February 1930. Although some, such as the actor Otis Skinner
Otis Skinner
Otis Skinner was an American actor.He was the son of a Universalist minister; his brother, Charles Montgomery Skinner, was a noted journalist and critic in New York. Skinner was educated in Hartford, Connecticut, with an eye towards a career in commerce. A visit to the theater left him stage-struck...
, believed that Peking opera could never be a success in the United States, the favorable reception of Lanfang and his troupe in New York City disproved this notion. The performances had to be relocated from the 49th Street Theater to the larger National Theater, and the duration of the tour extended from two weeks to five. Lanfang traveled across the United States, receiving honorary degrees from the University of California
University of California
The University of California is a public university system in the U.S. state of California. Under the California Master Plan for Higher Education, the University of California is a part of the state's three-tier public higher education system, which also includes the California State University...
and Pomona College
Pomona College
Pomona College is a private, residential, liberal arts college in Claremont, California. Founded in 1887 in Pomona, California by a group of Congregationalists, the college moved to Claremont in 1889 to the site of a hotel, retaining its name. The school enrolls 1,548 students.The founding member...
. He followed this tour with a tour in the Soviet Union
Soviet Union
The Soviet Union , officially the Union of Soviet Socialist Republics , was a constitutionally socialist state that existed in Eurasia between 1922 and 1991....
in 1935.
Performers and roles
Training
Becoming a Peking opera performer requires a long and arduous apprenticeship beginning from an early age. Prior to the 20th century, pupils were often handpicked at a young age by a teacher and trained for seven years on contract from the child's parents. Since the teacher fully provided for the pupil during this period, the student accrued a debt to his master that was later repaid through performance earnings. After 1911, training took place in more formally organized schools. Students at these schools rose as early as five o'clock in the morning for exercises. Daytime was spent learning the skills of acting and combat, and senior students performed in outside theatres in the evening. If they made any mistakes during such performances, the entire group was beaten with bamboo canes. Schools with less harsh training methods began to appear in 1930, but all schools were closed down in 1931 after the Japanese invasion. New schools were not opened until 1952.Performers are first trained in acrobatics, followed by singing and gestures. Several performing schools, all based on the styles of famous performers, are taught. Some examples are the Mei Lanfang
Méi Lánfang
Mei Lanfang was one of the most famous Beijing opera artists in modern history, exclusively known for his qingyi roles, a type of dan role. Méi Lánfāng is his stage name, and in Chinese it is generally considered a feminine name. His real name was Méi Lán...
school, the Cheng Yanqiu
Cheng Yanqiu
Cheng Yanqiu , born in Beijing, was one of the great twentieth century performers of the Dan role type in Jingju, or Peking Opera....
school, the Ma Lianliang school, and the Qi Lintong school. Students previously trained exclusively in the art of performance, but modern performance schools now include academic studies as well. Teachers assess the qualifications of each student and assign them roles as primary, secondary, or tertiary characters accordingly. Students with little acting talent often become Peking-opera musicians. They may also serve as the supporting cast of foot soldiers, attendants, and servants that is present in every Peking-opera troupe. In Taiwan, the Ministry of National Defense of the Republic of China runs a national Peking-opera training school.
Sheng
The is the main male role in Peking opera. This role has numerous subtypes. The is a dignified older role. These characters have a gentle and cultivated disposition and wear sensible costumes. One type of role is the , a red-faced older male. The only two roles are Guan Gong, the Chinese god of sworn brotherhood, loyalty and righteousness, and Zhao Kuang-yinEmperor Taizu of Song
Emperor Tàizǔ , born Zhao Kuangyin , was the founder of the Song Dynasty of China, reigning from 960 to 976.-Ancestry and early life:...
, the first Song Dynasty
Song Dynasty
The Song Dynasty was a ruling dynasty in China between 960 and 1279; it succeeded the Five Dynasties and Ten Kingdoms Period, and was followed by the Yuan Dynasty. It was the first government in world history to issue banknotes or paper money, and the first Chinese government to establish a...
emperor. Young male characters are known as . These characters sing in a high, shrill voice with occasional breaks to represent the voice changing period of adolescence. Depending on the character's rank in society, the costume of the xiaosheng may be either elaborate or simple. Off-stage, actors are often involved with beautiful women by virtue of the handsome and young image they project. The is a martial character for roles involving combat. They are highly trained in acrobatics, and have a natural voice when singing. Troupes will always have a actor. A actor may also be added to play roles fitting to his age. In addition to these main , the troupe will also have a secondary .
Dan
The refers to any female role in Peking opera. roles were originally divided into five subtypes. Old women were played by , martial women were , young female warriors were , virtuous and elite women were , and vivacious and unmarried women were . One of Mei Lanfang's most important contributions to Peking opera was in pioneering a sixth type of role, the . This role type combines the status of the with the sensuality of the . A troupe will have a young to play main roles, as well as an older for secondary parts. Four examples of famous Dans are Mei LanfangMéi Lánfang
Mei Lanfang was one of the most famous Beijing opera artists in modern history, exclusively known for his qingyi roles, a type of dan role. Méi Lánfāng is his stage name, and in Chinese it is generally considered a feminine name. His real name was Méi Lán...
, Cheng Yanqiu
Cheng Yanqiu
Cheng Yanqiu , born in Beijing, was one of the great twentieth century performers of the Dan role type in Jingju, or Peking Opera....
, Shang Xiaoyun
Shang Xiaoyun
Shang Xiaoyun was one of the four great twentieth century performers of the Dan role type in Jingju with Mei Lanfang, Cheng Yanqiu and Xun Huisheng....
, and Xun Huisheng
Xun Huisheng
Xun Huisheng was one of the four great twentieth century performers of the Dan role type in Jingju with Mei Lanfang, Cheng Yanqiu and Shang Xiaoyun....
. In the early years of Peking opera, all roles were played by men. Wei Changsheng, a male performer in the Qing court, developed the , or "false foot" technique, to simulate the bound feet of women and the characteristic gait that resulted from the practice. The ban on female performers also led to a controversial form of brothel, known as the , in which men paid to have sex with young boys dressed as females. Ironically, the performing skills taught to the youths employed in these brothels led many of them to become professional later in life.
Jing
The is a painted face male role. Depending on the repertoire of the particular troupe, he will play either primary or secondary roles. This type of role will entail a forceful character, so a must have a strong voice and be able to exaggerate gestures. Peking opera boasts 15 basic facial patterns, but there are over 1000 specific variations. Each design is unique to a specific character. The patterns and coloring are thought to be derived from traditional Chinese color symbolism and divination on the lines of a person's face, which is said to reveal personality. Easily recognizable examples of coloring include red, which denotes uprightness and loyalty, white, which represents evil or crafty characters, and black, which is given to characters of soundness and integrity. Three main types of roles are often seen. These include , roles that heavily involve singing, , roles with less emphasis on singing and more on physical performance, and , martial and acrobatic roles.Chou
The is a male clown role. The usually plays secondary roles in a troupe. Indeed, most studies of Peking opera classify the as a minor role. The name of the role is a homophoneHomophone
A homophone is a word that is pronounced the same as another word but differs in meaning. The words may be spelled the same, such as rose and rose , or differently, such as carat, caret, and carrot, or to, two, and too. Homophones that are spelled the same are also both homographs and homonyms...
of the Mandarin Chinese word , meaning "ugly". This reflects the traditional belief that the clown's combination of ugliness and laughter could drive away evil spirits. roles can be divided into , civilian roles such as merchant
Merchant
A merchant is a businessperson who trades in commodities that were produced by others, in order to earn a profit.Merchants can be one of two types:# A wholesale merchant operates in the chain between producer and retail merchant...
s and jailers, and , minor military roles. The is one of the most demanding in Peking opera, because of its combination of comic acting, acrobatics, and a strong voice. characters are generally amusing and likable, if a bit foolish. Their costumes range from simple for characters of lower status to elaborate, perhaps overly so, for high status characters. characters wear special face paint, called , that differs from that of characters. The defining characteristic of this type of face paint is a small patch of white chalk around the nose. This can represent either a mean and secretive nature or a quick wit.
Beneath the whimsical persona of the , a serious connection to the form of Peking opera exists. The is the character most connected to the , the drum
Drum
The drum is a member of the percussion group of musical instruments, which is technically classified as the membranophones. Drums consist of at least one membrane, called a drumhead or drum skin, that is stretched over a shell and struck, either directly with the player's hands, or with a...
s and clapper commonly used for musically accompaniment during performances. The actor often uses the in solo performance, especially when performing , light-hearted verses spoken for comedic effect. The clown is also connected to the small gong
Gong
A gong is an East and South East Asian musical percussion instrument that takes the form of a flat metal disc which is hit with a mallet....
and cymbal
Cymbal
Cymbals are a common percussion instrument. Cymbals consist of thin, normally round plates of various alloys; see cymbal making for a discussion of their manufacture. The greater majority of cymbals are of indefinite pitch, although small disc-shaped cymbals based on ancient designs sound a...
s, percussion instruments that symbolize the lower classes and the raucous atmosphere inspired by the role. Although characters do not sing frequently, their arias feature large amounts of improvisation
Improvisation
Improvisation is the practice of acting, singing, talking and reacting, of making and creating, in the moment and in response to the stimulus of one's immediate environment and inner feelings. This can result in the invention of new thought patterns, new practices, new structures or symbols, and/or...
. This is considered a license of the role, and the orchestra will accompany the actor even as he bursts into an unscripted folk song. However, due to the standardization of Peking opera and political pressure from government authorities, improvisation has lessened in recent years. The has a vocal timbre that is distinct from other characters, as the character will often speak in the common Beijing dialect
Beijing dialect
Beijing dialect, or Pekingese , is the dialect of Mandarin spoken in the urban area of Beijing, China. It is the phonological basis of Standard Chinese, which is used by the People's Republic of China, the Republic of China , and Singapore....
, as opposed to the more formal dialects of other characters.
Visual performance elements
Peking-opera performers utilize four main skills. The first two are song and speech. The third is dance-acting. This includes pure danceDance
Dance is an art form that generally refers to movement of the body, usually rhythmic and to music, used as a form of expression, social interaction or presented in a spiritual or performance setting....
, pantomime
Pantomime
Pantomime — not to be confused with a mime artist, a theatrical performer of mime—is a musical-comedy theatrical production traditionally found in the United Kingdom, Australia, New Zealand, Canada, Jamaica, South Africa, India, Ireland, Gibraltar and Malta, and is mostly performed during the...
, and all other types of dance. The final skill is combat
Combat
Combat, or fighting, is a purposeful violent conflict meant to establish dominance over the opposition, or to terminate the opposition forever, or drive the opposition away from a location where it is not wanted or needed....
, which includes both acrobatics
Acrobatics
Acrobatics is the performance of extraordinary feats of balance, agility and motor coordination. It can be found in many of the performing arts, as well as many sports...
and fighting with all manner of weapon
Weapon
A weapon, arm, or armament is a tool or instrument used with the aim of causing damage or harm to living beings or artificial structures or systems...
ry. All of these skills are expected to be performed effortlessly, in keeping with the spirit of the art form.
Aesthetic aims and principles of movement
Peking opera follows other traditional Chinese arts in emphasizing meaning, rather than accuracy. The highest aim of performers is to put beauty into every motion. Indeed, performers are strictly criticized for lacking beauty during training. Additionally, performers are taught to create a synthesis between the different aspects of Peking opera. The four skills of Peking opera are not separate, but rather should be combined in a single performance. One skill may take precedence at certain moments during a play, but this does not mean that other actions should cease. Much attention is paid to tradition in the art form, and gestures, settings, music, and character types are determined by long held convention. This includes conventions of movement, which are used to signal particular actions to the audience. For example, walking in a large circle always symbolizes traveling a long distance, and a character straightening his or her costume and headdress symbolizes that an important character is about to speak. Some conventions, such as the pantomimic opening and closing of doors and mounting and descending of stairs, are more readily apparent.Many performances deal with behaviors that occur in daily life. However, in accordance with the overriding principle of beauty, such behaviors are stylized to be presented on stage. Peking opera does not aim to accurately represent reality. Experts of the art form contrast the principles of Peking opera with the principle of Mo, mimes or imitation, that is found in western dramas. Peking opera should be suggestive, not imitative. The literal aspects of scenes are removed or stylized to better represent intangible emotions and characters. The most common stylization method in Peking opera is roundness. Every motion and pose is carefully manipulated to avoid sharp angles and straight lines. A character looking upon an object above them will sweep their eyes in a circular motion from low to high before landing on the object. Similarly, a character will sweep their hand in an arc from left to right in order to indicate an object on the right. This avoidance of sharp angles extends to three dimensional movement as well; reversals of orientation often take the form of a smooth, S-shaped curve. All of these general principles of aesthetics are present within other performance elements as well.
Staging and costumes
Peking opera stages have traditionally been square platforms. The action on stage is usually visible from at least three sides. The stage is divided into two parts by an embroidered curtain called a shoujiu. Musicians are visible to the audience on the front part of the stage. Traditional Peking opera stages were built above the line of sight of the viewers, but some modern stages have been constructed with higher audience seating. Viewers are always seated south of the stage. Therefore, north is the most important direction in Peking opera, and performers will immediately move to "center north" upon entering the stage. All characters enter from the east and exit from the west. In line with the highly symbolic nature of Peking opera, the form utilizes very few props. This reflects seven centuries of Chinese performance tradition. The presence of large objects is frequently indicated through conventions. The stage will almost always have a table and at least one chair, which can be turned through convention into such diverse objects as a city wall, a mountain, or a bed. Peripheral objects will often be used to signify the presence of a larger, main object. For example, a whip is used to indicate a horse and an oar symbolizes a boat.The length and internal structure of Peking-opera plays is highly variable. Prior to 1949, zhezixi, short plays or plays made up of short scenes from longer plays, were often performed. These plays usually center on one simple situation or feature a selection of scenes designed to include all four of the main Peking opera skills and showcase the virtuosity of the performers. This format has become less prevalent in recent times, but plays of one act are still performed. These short works, as well as individual scenes within longer works, are marked by an emotional progression from the beginning of the play to the end. For example, the concubine in the one act play The Favorite Concubine Becomes Intoxicated begins in a state of joy, and then moves to anger and jealousy, drunken playfulness, and finally to a feeling of defeat and resignation. A full-length play usually has from six to fifteen or more scenes. The overall story in these longer works is told through contrasting scenes. Plays will alternate between civil and martial scenes, or scenes involve protagonists and antagonists. There are several major scenes within the work that follow the pattern of emotional progression. It is these scenes that are usually excerpted for later zhezixi productions. Some of the most complex plays may even have an emotional progression from scene to scene.
Due to the scarcity of props in Peking opera, costumes take on added importance. Costumes function first to distinguish the rank of the character being played. Emperors and their families wear yellow robes, and high ranking officials wear purple. The robe worn by these two classes is called a mang, or python robe. It is a costume suitable for the high rank of the character, featuring brilliant colors and rich embroidery, often in the design of a dragon. Persons of high rank or virtue wear red, lower ranking officials wear blue, young characters wear white, the old wear white, brown, or olive, and all other men wear black. On formal occasions, lower officials may wear the kuan yi, a simple gown with patches of embroidery on both the front and back. All other characters, and officials on informal occasions, wear the chezi, a basic gown with varying levels of embroidery and no jade girdle to denote rank. All three types of gowns have water sleeves, long flowing sleeves that can be flicked and waved like water, attached to facilitate emotive gestures. Tertiary characters of no rank wear simple clothing without embroidery. Hats are intended to blend in with the rest of the costume and will usually have a matching level of embroidery. Shoes may be high or low soled, the former being worn by characters of high rank, and the latter by characters of low rank or acrobatic characters.
Vocal production
Vocal production in Peking opera is conceived of as being composed of "four levels of song": songs with music, verse recitation, prose dialogue, and non-verbal vocalizations. The conception of a sliding scale of vocalization creates a sense of smooth continuity between songs and speech. The three basic categories of vocal production technique are the use of breath (yongqi), pronunciation (fayin), and special Peking-opera pronunciation (shangkouzi).In Chinese opera, breath is based in the pubic region and supported by the abdominal muscles. Performers follow the basic principle that "Strong centralized breath moves the melodic-passages" (zhong qi xing xiang). Breath is visualized being drawn up through a central breathing cavity extending from the pubic region to the top of the head. This "cavity" must be under the performer's control at all times, and he or she develops special techniques to control both entering and exiting air. The two major methods of taking in breath are known as "exchanging breath" (huan qi) and "stealing breath" (tou qi). "Exchanging breath" is a slow, unhurried process of breathing out old air and taking in new. It is used at moments when the performer is not under time constraint, such as during a purely instrumental musical passage or when another character is speaking. "Stealing breath" is a sharp intake of air without prior exhalation, and is used during long passages of prose or song when a pause would be undesirable. Both techniques should be invisible to the audience and take in only the precise amount of air required for the intended vocalization. The most important principle in exhalation is "saving the breath" (cun qi). Breath should not be expended all at once at the beginning of a spoken or sung passage, but rather expelled slowly and evenly over its length. Most songs and some prose contain precise written intervals for when breath should be "exchanged" or "stolen". These intervals are often marked by carats.
Pronunciation is conceptualized as shaping the throat and mouth into the shape necessary to produce the desired vowel sound, and clearly articulating the initial consonant. There are four basic shapes for the throat and mouth, corresponding to four vowel types, and five methods of articulating consonants, one for each type of consonant. The four throat and mouth shapes are "opened-mouth" (kaikou), "level-teeth" (qichi), "closed-mouth" (hekou or huokou), and "scooped-lips" (cuochun). The five consonant types are denoted by the portion of the mouth most critical to each type's production: throat, or larynx (hou); tongue (she); molars, or the jaws and palate (chi); front teeth (ya); and lips (chun).
Some syllables (written Chinese characters) have special pronunciations in Peking opera. This is due to the collaboration with regional forms and kunqu
Kunqu
Kunqu , also known as Kunju , Kun opera or Kunqu Opera, is one of the oldest extant forms of Chinese opera. It evolved from the Kunshan melody, and dominated Chinese theatre from the 16th to the 18th centuries. The style originated in the Wu cultural area...
that occurred during the development of Peking opera. For example, 你, meaning "you", may be pronounced li, as it is in the Anhui dialect, rather than the Standard Chinese ni. 我, meaning "I" and pronounced wo in Standard Chinese, becomes ngo, as it is pronounced in the dialect of Suzhou
Suzhou
Suzhou , previously transliterated as Su-chou, Suchow, and Soochow, is a major city located in the southeast of Jiangsu Province in Eastern China, located adjacent to Shanghai Municipality. The city is situated on the lower reaches of the Yangtze River and on the shores of Taihu Lake and is a part...
. In addition to pronunciation differences that are due to the influence of regional forms, the readings of some characters have been changed to promote ease of performance or vocal variety. For example, zhi, chi, she, and ri sounds do not carry well and are difficult to sustain, because they are produced far back in the mouth. Therefore, they are performed with an additional i sound, as in zhii.
These techniques and conventions of vocal production are used to create the two main categories of vocalizations in Peking opera: stage speech and song.
Stage speech
Peking opera is performed using both Classical ChineseClassical Chinese
Classical Chinese or Literary Chinese is a traditional style of written Chinese based on the grammar and vocabulary of ancient Chinese, making it different from any modern spoken form of Chinese...
and Modern Standard Chinese with some slang terms added for color. The social position of the character being played determines the type of language that he or she uses. Peking opera features three major types of stage speech (nianbai). Monologues and dialogue, which make up the majority of most plays, consist of prose speeches. The purpose of prose speech is to advance the plot of the play or inject humor into a scene. They are usually short, and are performed mostly using vernacular language. However, as Elizabeth Wichmann points out, they also have rhythmic and musical elements, achieved through the "stylized articulation of monosyllabic sound units" and the "stylized pronunciation of speech-tones", respectively. Prose speeches were frequently improvised during the early period of Peking opera's development, and chou performers carry on that tradition today.
The second main type of stage speech consists of quotations drawn from classical Chinese poetry. This type is rarely used in Peking opera; plays have one or two such quotations at most, and often none at all. In most instances, the use of classical poetry is intended to heighten the impact of a scene. However, Chou and more whimsical Dan characters may misquote or misinterpret the classical lines, creating a comic effect.
The final category of stage speech is conventionalized stage speeches (chengshi nianbai). These are rigid formulations that mark important transition points. When a character enters for the first time, an "entrance speech" (shangchang) or "self-introduction speech" (zi bao jiamen) is given, which includes a prelude poem, a set-the-scene poem, and a prose set-the-scene speech, in that order. The style and structure of each entrance speech is inherited from earlier Yuan Dynasty
Yuan Dynasty
The Yuan Dynasty , or Great Yuan Empire was a ruling dynasty founded by the Mongol leader Kublai Khan, who ruled most of present-day China, all of modern Mongolia and its surrounding areas, lasting officially from 1271 to 1368. It is considered both as a division of the Mongol Empire and as an...
, Ming Dynasty
Ming Dynasty
The Ming Dynasty, also Empire of the Great Ming, was the ruling dynasty of China from 1368 to 1644, following the collapse of the Mongol-led Yuan Dynasty. The Ming, "one of the greatest eras of orderly government and social stability in human history", was the last dynasty in China ruled by ethnic...
, folk, and regional forms of Chinese opera. Another conventionalized stage speech is the exit speech, which may take the form of a poem followed by a single spoken line. This speech is usually delivered by a supporting character, and describes his or her present situation and state of mind. Finally, there is the recapitulation speech, in which a character will use prose to recount the story up to that point. These speeches came about as a result of the zhezixi tradition of performing only one part of a larger play.
Song
There are six main types of song lyrics in Peking opera: emotive, condemnatory, narrative, descriptive, disputive, and "shared space separate sensations" lyrics. Each type uses the same basic lyrical structure, differing only in kind and degree of emotions portrayed. Lyrics are written in couplets (lian) consisting of two lines (ju). Couplets can consist of two ten character lines, or two seven character lines. The lines are further subdivided into three dou (lit. "pause"), typically in a 3-3-4 or 2-2-3 pattern. Lines may be "padded" with extra characters for the purpose of clarifying meaning. Rhyme is an extremely important device in Peking opera, with thirteen identified rhyme categories. Song lyrics also utilize the speech tones of Mandarin Chinese in ways that are pleasing to the ear and convey proper meaning and emotion. The first and second of Chinese's four tones are known as "level" (ping) tones in Peking opera, while the third and fourth are called "oblique" (ze). The closing line of every couplet in a song ends in a level tone.Songs in Peking opera are proscribed by a set of common aesthetic values. A majority of songs are within a pitch range of an octave and a fifth. High pitch is a positive aesthetic value, so a performer will pitch songs at the very top of his or her vocal range. For this reason, the idea of a song's key has value in Peking opera only as a technical tool for the performer. Different performers in the same performance may sing in different keys, requiring the accompanying musicians to constantly retune their instruments or switch out with other players. Elizabeth Wichmann describes the ideal basic timbre for Peking opera songs as a "controlled nasal tone". Performers make extensive use of vocal vibrato during songs, in a way that is "slower" and "wider" than vibrato used in Western performances. The Peking opera aesthetic for songs is summed up by the expression zi zheng qiang yuan, meaning that the written characters should be delivered accurately and precisely, and the melodic passages should be weaving, or "round".
Music
The second is the circular bodied plucked lute, the yueqin
Yueqin
This article is about the Chinese Yuequin. The Vietnamese Đàn nguyệt is also often referred to as a 'moon guitar'.The yueqin is a traditional Chinese string instrument...
. Percussion instruments include the daluo, xiaoluo, and naobo. The player of the gu and ban, a small high pitch drum and clapper, is the conductor of the entire ensemble. The two main musical styles of Peking opera, Xipi and Erhuang, originally differed in subtle ways. In the Xipi style, the strings of the jinghu are tuned to the keys of A and D. The melodies in this style are very disjointed, possibly reflecting the style's derivation from the high and loud melodies of the Qinqiang opera of northwestern China. It is commonly used to tell joyous stories. In Erhuang, on the other hand, the strings are tuned to the keys of C and G. This reflects the low, soft, and despondent folk tunes of south-central Hubei
Hubei
' Hupeh) is a province in Central China. The name of the province means "north of the lake", referring to its position north of Lake Dongting...
province, the style's place of origin. As a result, it is used for lyrical stories. Both musical styles have a standard meter of two beats per bar. The two musical styles share six different tempos, including manban (a slow tempo), yuanban (a standard, medium-fast tempo), kuai sanyan ("leading beat"), daoban ("leading beat"), sanban ("rubato beat"), and yaoban ("shaking beat"). The xipi style also utilizes several unique tempos, including erliu ("two-six"), and kuaiban (a fast tempo). Of these tempos, yuanban, manban, and kuaiban are most commonly seen. The tempo at any given time is controlled by a percussion player who acts as director. Erhuang has been seen as more improvisational, and Xipi as more tranquil. The lack of defined standards among performance troupes and the passage of time may have made the two styles more similar to each other today.
The melodies played by the accompaniment mainly fall into three broad categories. The first is the aria. The arias of Peking opera can be further divided into those of the Erhuang and Xipi varieties. An example of an aria is wawa diao, an aria in the Xipi style that is sung by a young Sheng to indicate heightened emotion. The second type of melody heard in Peking opera is the fixed-tune melody, or qupai. These are instrumental tunes that serve a wider range of purposes than arias. Examples include the "Water Dragon Tune" (shui long yin), which generally denotes the arrival of an important person, and "Triple Thrust"(ji san qiang), which may signal a feast or banquet. The final type of musical accompaniment is the percussion pattern. Such patterns provide context to the music in ways similar to the fixed-tune melodies. For example, there are as many as 48 different percussion patterns that accompany stage entrances. Each one identifies the entering character by his or her individual rank and personality.
Repertoire
Since 1949, a more detailed classification system has been put into use based on thematic content and the historical period of a play's creation. The first category in this system is chuantongxi, traditional plays that were in performance prior to 1949. The second category is xinbian de lishixi, historical plays written after 1949. This type of play was not produced at all during the Cultural Revolution, but is a major focus today. The final category is xiandaixi, contemporary plays. The subject matter of these plays is taken from the 20th century and beyond. Contemporary productions are also frequently experimental in nature, and may incorporate Western influences. In the second half of the 20th century, Western works have increasingly been adapted for Peking opera. The works of Shakespeare have been especially popular. The movement to adapt Shakespeare to the stage has encompassed all forms of Chinese theatre. Peking opera in particular has seen versions of A Midsummer Night's Dream
A Midsummer Night's Dream
A Midsummer Night's Dream is a play that was written by William Shakespeare. It is believed to have been written between 1590 and 1596. It portrays the events surrounding the marriage of the Duke of Athens, Theseus, and the Queen of the Amazons, Hippolyta...
and King Lear
King Lear
King Lear is a tragedy by William Shakespeare. The title character descends into madness after foolishly disposing of his estate between two of his three daughters based on their flattery, bringing tragic consequences for all. The play is based on the legend of Leir of Britain, a mythological...
, among others.
Film
Peking opera and its stylistic devices have appeared in many Chinese films. It often was used to signify a unique "Chineseness" in contrast to sense of culture being presented in Japanese films. Fei MuFei Mu
Fei Mu was a major Chinese film director from the pre-Communist era.-Biography:Born in Shanghai, China, Fei Mu is considered by many to be one of the major film directors prior to the communist revolution in 1949...
, a director of the pre-Communist era, utilized Peking opera in a number of plays, sometimes within "Westernized", realistic plots. King Hu
King Hu
King Hu was a Hong Kong- and Taiwan-based Chinese film director whose Wuxia films brought Chinese cinema to new technical and artistic heights. His films Come Drink with Me , Dragon Gate Inn and A Touch of Zen inaugurated a new generation of wuxia films in the late 1960s...
, a later Chinese film director, utilized many of the formal norms of Peking opera in his films, such as the parallelism between music, voice, and gesture. In the 1993 film Farewell My Concubine, by Chen Kaige
Chen Kaige
Chen Kaige is a Chinese film director and a leading figure of the fifth generation of Chinese cinema. His films are known for their visual flair and epic storytelling.-Early life:...
, Peking opera serves as the object of pursuit for the protagonists and a backdrop for their romance. However, the film's portrayal of Peking opera has been criticized as one-dimensional. Chen returned to the subject again in 2008 with the Mei Lanfang
Méi Lánfang
Mei Lanfang was one of the most famous Beijing opera artists in modern history, exclusively known for his qingyi roles, a type of dan role. Méi Lánfāng is his stage name, and in Chinese it is generally considered a feminine name. His real name was Méi Lán...
biopic Forever Enthralled. Peking opera is also featured in Peking Opera Blues
Peking Opera Blues
Peking Opera Blues is a 1986 Hong Kong film directed by Tsui Hark. The movie combines comedy, Hong Kong action, and serious drama with scenes involving Peking Opera...
by Tsui Hark
Tsui Hark
Tsui Hark , born Tsui Man-kong, is a Hong Kong New Wave film director and producer. He is viewed as a major figure in the Golden Age of Hong Kong cinema .-Early life:...
.
Peking-opera houses in Beijing
Fundamental to the performance and overall ambience of traditional Peking opera is the venue. There are many restored venues in Beijing dating from the late 17th century onwards, the opera stage at Prince Gong MansionPrince Gong Mansion
The Prince Gong's Mansion or Gong Wang Fu Museum is located in the western part of central Beijing, China, north of the Shichahai Lake...
, Zhengyici-xi-lou
Zheng Yici Peking Opera Theatre
The Zhengyici Peking Opera Theatre , located on a hutong in the Xuanwu District of Beijing, is one of the best-known Beijing opera theatres. It is also one of the oldest wooden theatres in China. Zhengyici means a temple for Zhengyi Xuantan Laozu .-History:The theatre was built in 1688, during the...
and Huguang Guild Hall
Huguang Guild Hall
The Huguang Guild Hall in Beijing is a renowned Beijing opera theatre. Built in 1807, and at the height of its glory, the Huguang Guild Hall, along with the Zhengyici Peking Opera Theatre was known as one of the "Four Great Theatres" in all of Beijing...
, being among them. However, modern venues for the general operatic and theatre stage are also common, such as the National Centre for the Performing Arts, and the Chang'an Grand Theatre
Chang'an Grand Theatre
The Chang'an Grand Theatre , located on the north on East Changan Street, is a theatre in Beijing that specializes on Beijing opera performances. Opened in 1996, the Chang'an Grand Theatre is a modern Peking opera theatre which displays modern facilities such as advanced highlights,...
located on the East Chang'an Avenue is an example of modern Peking opera theatre.
See also
- Chinese operaChinese operaChinese opera is a popular form of drama and musical theatre in China with roots going back as far as the third century CE...
- Cantonese operaCantonese operaCantonese opera is one of the major categories in Chinese opera, originating in southern China's Cantonese culture. It is popular in Guangdong, Guangxi, Hong Kong, Macau, Singapore and Malaysia. Like all versions of Chinese opera, it is a traditional Chinese art form, involving music, singing,...
- Huangmei operaHuangmei OperaHuangmei opera or Huangmei tone originated as a form of rural folksong and dance that has been in existence for the last 200 years and possibly longer. The music is performed with a pitch that hits high and stays high for the duration of the song...
- KunquKunquKunqu , also known as Kunju , Kun opera or Kunqu Opera, is one of the oldest extant forms of Chinese opera. It evolved from the Kunshan melody, and dominated Chinese theatre from the 16th to the 18th centuries. The style originated in the Wu cultural area...
- Min OperaMin OperaMin opera , also called Fuzhou drama , is one of the major traditional opera forms in Fujian Province. It enjoys a good popularity in Fuzhou, Middle Fujian, East Fujian and North Fujian where Fuzhou dialect is spoken, as well as in Taiwan and Malay Archipelago...
- QinqiangQinqiangQinqiang or Luantan is the representative folk Chinese opera of the northwest Province of Shaanxi, China, where it was called Qin thousands of years ago. Its melodies were originated from the rural areas of ancient Shaanxi and Gansu...
- Shaoxing opera
- Cantonese opera
- YunbaiYunbaiYunbai is a form of heightened speech used in Beijing opera and Kunqu. It utilizes a local dialect typical of central China, with a sing-song and rhythmic quality.-External links:*...
- China National Peking Opera CompanyChina National Peking Opera CompanyThe China National Peking Opera Company , originally named the National Peking Opera Theater of China, is one of the national ensembles of performance arts directly under the supervision of the Ministry of Culture of the People's Republic of China. Situated in Beijing, it was founded in January...
- Zheng Yici Peking Opera TheatreZheng Yici Peking Opera TheatreThe Zhengyici Peking Opera Theatre , located on a hutong in the Xuanwu District of Beijing, is one of the best-known Beijing opera theatres. It is also one of the oldest wooden theatres in China. Zhengyici means a temple for Zhengyi Xuantan Laozu .-History:The theatre was built in 1688, during the...