Evolution of Peking Opera

Huiban originated in Anqing, Anhui. The so-called Huiban, of course, is the lead singer of the local Huizhou tune-this Huizhou tune refers to the blowpipe, treble and the Huang Er tune that evolved from it. However, in addition to Huanger Opera, this kind of vocal opera at that time was also influenced by Kunshan Opera, Yiyang Opera and other vocal operas, including Huizhou Opera and Kunqu Opera.

According to the specific situation at that time, the opera experts once named Huiban as "Zaju Troupe". This historical positioning is very accurate, which reflects the openness of Huiban in the absorption and integration of vocal cavity, which is also the reason why it later gave birth to Peking Opera.

The "rise and fall" of Kunqu opera created conditions for the prosperity of Huiban. As Zhou Yude, a theorist of traditional Chinese opera, said, the most fundamental reason why Huiban won in the "dispute between flowers and elegance" is "the return of traditional Chinese opera to popular culture". At this time, the life of a new vocal opera has been agitated in its mother-Huizhou class, ready to go!

Formation period:

Regarding the formation of Peking Opera, two historical terms have to be mentioned, one is called "the confluence of Hui and Qin"; The other is called "Hui-Han confluence". This is all from the perspective of the sound cavity. Because, as one of the main signs of the formation of traditional Chinese opera, a relatively complete vocal cavity system must be established.

"Huiqin confluence" means that Huiban has been influenced by Qinqiang opera and absorbed its music tunes; After arriving in Beijing, famous Shaanxi opera actors joined Huizhou class, and some of them became the pillars. It is logical that the two kinds of Qupai operas of Hui and Qin are integrated with each other.

Huiban tune originated from Shipai tune, which originally originated from Pi Huang Tiao. In this way, it is natural to form a "confluence of Hui and Han" with Pihuang as the main tone when performing on the same stage.

In addition to Yu Sansheng, Zhang Erkui, a senior one student in Sixi Huizhou Class, and Cheng Changgeng, a senior one student in Sanqing Huizhou Class, all contributed to "bringing back Chinese sounds and bringing forth new ones" in their performances, forming a "Beijing skin yellow" with Beijing flavor.

Yu Sansheng, Zhang Erkui, Cheng Changgeng and so on. Because of its influence on the life of Jingpihuang, he was honored as "Sandingjia" (Sanjie) by later generations. Beijing Pihuang Opera, represented by "Sandingjia", finally landed-she was later called "Peking Opera"!

Development cycle:

The imperial court's preference for Beijing school Pi Huang objectively promoted the refinement and standardization of Pi Huang's drama in script, voice, facial makeup, costumes and so on. Later, with the overthrow of the Qing court by the Revolution of 1911, the acting activities of the Qing court ended.

However, Jing Pi Huang has long been popular all over the country. In terms of geographical concept, foreign audiences call Pi Huang from Beijing "Peking Opera". After the government of the Republic of China established Nanjing as its capital and renamed it Beiping, people habitually called Pi Huang "Pingju".

During the thirty years of the Republic of China, despite the hardships of the country and the people's dire straits, Peking Opera was deeply loved by the people and developed slowly and gradually along its own internal laws.

It once made a difference in the "Drama Reform Movement"; Once, because of the implementation of the "celebrity course selection system", there were many schools and the art matured rapidly; Moreover, because Mei Lanfang led a delegation to visit Japan, the United States, the Soviet Union and other countries, Peking Opera has won high honors internationally.

After the founding of New China, under the guidance of a series of principles and policies such as "Let a hundred flowers blossom and bring forth the new", Peking Opera, the ancient Kunqu opera art and local operas all over the country have been rejuvenated through the "opera reform work"; In the direction that art serves the people and strives for perfection, it has made unprecedented contributions in history.

Since the founding of New China, following the "Four Bears" and "Four Talents", many famous schools have appeared, such as Li, Zhang and Qiu. Famous artists are all over the sky, and students are taught art, and peaches and plums are all over the world.

From the 1920s to the 1940s, Mr Mei Lanfang, a master of Peking Opera, led a delegation to visit and perform in Japan, the United States, the Soviet Union and Hong Kong. Traditional plays such as Drunkenness of the Imperial Lady, Dream in the Garden, Interpretation of Woman, Cosmic Front, etc. , as well as new dramas in ancient costumes such as "The Goddess Scatters Flowers", spread the flower of Chinese Peking Opera art to the world, not only spreading friendship, but also winning praise and love from people all over the world for their superb acting skills.

Extended data

Peking Opera is one of the most important operas in more than 300 operas, and it has a special position in the field of drama in China. Since the middle of the19th century, Peking Opera has been one of the important symbols of China's cultural tradition. The birth and development of Peking Opera is a model of modern drama development in China. The relationship between Peking Opera and China cultural tradition embodies the main line of the development and evolution of China cultural tradition since Ming and Qing Dynasties.

Interpreting the historical and cultural connotation of Peking Opera is of great typical significance for interpreting the development and spread of China's performing arts, and for further understanding the internal composition and modern transformation of China's cultural tradition.

Representative figures of Peking Opera:

From 19 17, a large number of outstanding Peking Opera actors emerged, showing the vigorous development of various schools, from the mature stage to the heyday, with Yang Xiaolou, Mei Lanfang, Yu Shuyan and other representatives in this period.

Mei Lanfang won the "Four Heavenly Kings" for his role in A Dream of Red Mansions, Shang Xiaoyun won the "Four Heavenly Kings" for his role in Modern Jia Nv, Cheng won the "Four Heavenly Kings" for his role in Hong Fu, and Xun Huisheng won the "Four Heavenly Kings" for his role in The Story of Dan Qing. The emergence of the "four great talents" is an important symbol of the prosperity of Beijing opera.

They created their own artistic styles, and formed the "four schools", such as Mei Lanfang's dignified and elegant, Shang Xiaoyun's handsome and vigorous, Cheng's profound euphemism and Xun Huisheng's charming and charming, which created the pattern of taking Dan as the main factor in the Peking Opera stage.

Baidu Encyclopedia-Peking Opera