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What types of theater are Peking Opera made up of?

Origin of Peking Opera

Chinese Peking Opera is China's "national treasure" with a history of 200 years. The name of Peking Opera can be found in the "Declaration" of the second year of Guangxu in the Qing Dynasty (1876), and historically it has been called "Pihuang", "Erhuang", "Huangqiang", "Jingtong", "Peking Opera", "Ping Opera", "Guo Opera", etc. In the 55th year of Qianlong's reign in the Qing Dynasty (1790), the four Huiban Classes came to the capital and the Beijing Opera scene, such as the Kunqu Opera, the Chinese Opera, the Yiyang Opera, and the Chaoban Bomb etc. After 50-60 years of fusion and convergence, it has become the Peking Opera, which is the largest Chinese Opera genre. Its repertoire, the number of performing artists, the number of troupes, the number of audiences, and the depth of its influence are all the highest in the country. Peking Opera is a comprehensive performing art. It combines singing, reciting, acting, fighting and dancing, and through the programmed performances, it narrates the story, portrays the characters, and expresses the thoughts and feelings of joy, anger, sadness, sorrow, joy, shock, fear and grief. The roles can be divided into four major lines: Sheng (men), Dan (women), Jing (men) and Chou (both men and women). The characters are divided into loyalty and treachery, beauty and ugliness, good and evil. Each character is distinct and vivid.

Formation and Spread: The predecessor of Peking Opera was the Hui Ban, which was popular in Jiangnan in the early Qing Dynasty and mainly sang the blowing accent, high pizzicato, and Erhuang. Huiban was highly mobile, had frequent contact with other types of theater, and exchanged and penetrated each other's voices, so in the process of development, it also performed a lot of kun opera, and absorbed luo luo cavity and other miscellaneous songs. In 1790, the first Hui class (Sanqing class), headed by Gao Langting (named Yueguan), entered Beijing to participate in a performance to celebrate the 80th birthday of Emperor Qianlong. Yangzhou painting boat record: "Gao Langting into the capital, to Anqing flower department, combined with the Beijing-Qin two cavity, named its class said three Qing." Published in the twenty-second year of the Daoguang (1842) of Yang Maojian "Meng Hua Zuo Lu" also said: "and three Qing and in the first of the four joys, Qianlong 55 years gengxu, Emperor Gaozong eighty years of longevity into the wish box, said 'three Qing Hui', is the ancestor of the Hui class." Wu Zishu in the "With the Garden Poetry" annotated more specifically pointed out that "the Governor of Fujian and Zhejiang Wu Nala order Zhejiang salt merchants with Anqing Hui people all Zhu Li". Subsequently, there are a number of Huiban successive Beijing. Famous for the three Qing, four happy, Chuntai, and spring four classes, although and spring was established in the Jiaqing eight years (1803), later than the three Qing thirteen years, but the later generation and still called the "four big Huiban into Beijing".

During the Qianlong and Jiaqing years, Beijing was a city of cultural relics, political stability and economic prosperity, where artists of all kinds of theater gathered. The Beijing stage was dominated by the Kun, Peking, and Qin operas, which were in confrontation with each other. When Hui Ban came to Beijing, he first devoted himself to "combining the Beijing and Qin cavities". At that time, Qinqiang and Peking opera were basically performed on the same stage, and "Peking and Qin were not divided" (Yangzhou Boat Records). Huiban carried forward its tradition of drawing on the strengths of all, absorbing the repertoire and performance methods of Qinqiang (including some of the Peking opera) and inheriting many Kunqiang repertoires (it also rehearsed the Kunqiang opera The Peach Blossom Fan) as well as its stage art system, and thus improved rapidly in its art.

The artistic characteristics of Huiban are the main reason why it is able to win in the competition. In terms of voice, in addition to the singing of the Erhuang tune with a new sound to capture the people, it "contact with the sound of the five parties, the same" ("Sun down to see the flowers"); in terms of repertoire, a wide range of subjects, a variety of forms; in terms of performance, pure and simple and sincere, the rows of the full range of military and civilian, and therefore suitable for the appreciation of the general requirements of the audience.

In the performance arrangement, according to the "Meng Hua Zuo Book", the four Hui class "each excel in the field". The three Qing to "axis" to win (taking over new plays for days), four happy to "tune" to win (good at singing kunqu), and spring to "handle" to win (good at martial arts), Chuntai to "children" to win (to child actors as a call). In the art and operation of the focus, can play a specialty, to achieve faster progress. By the late Daoguang period, Huiban was already dominant in Beijing. Menghua Zuozhu said: "Now the music department of the Anhui people are the most, Wu people are second, Shu people are absolutely no well-known." Also said: "the theater must be Huiban theater. Theater garden of the big ones, such as Guangde building, Guang and building, three Qing garden, Qing Leyuan, also must be Hui class mainly." Huiban growth and development process, that is, it is to the Beijing opera trespassing process. The completion of this transmutation, the main symbol for the merger of Hui and Han and the fusion of leather and yellow, the formation of the western leather, two yellow cadences based on the board cavity singing music system, so that the singing, reading, doing and playing the performance system is gradually perfected. The earliest Han tune actor who went to Beijing with the Hui class was Mi Yingxian (also known as Mi Xizi), a native of Chongyang, Hubei (said to be from Anhui), born in the 45th year of the Qianlong reign (1780), who joined the Chuntai Hui class to sing in Beijing in the Jiaqing reign, and acted as a Zhengsheng, excelled in the Hongsheng play, and had a very high reputation (see Menghua Zuobian and Li Dengqi's "Frequently Talked About Series Recordings"). He was regarded as the forerunner of the famous Han Opera actor Yu Sansheng (at that time, there was a line in the opera lyrics that reads, "Yasai's year was Mi Yingxian"). During the Daoguang period (1821-1849), there was a gradual increase in the number of Chinese opera singers who went to Beijing to join the Hui class, and the famous ones were Wang Honggui and Li Li. Su Hai'an's "Yantai Hongzhu ji" (written before the 12th year of the Daoguang period) says: "The capital is still in the Chu style. Musicians such as Wang Honggui, Li Liu good for the new claim at the time." Chu tune that is, Han tune, that is, Xipi tune. It can be seen at that time Beijing has been popular in the western tone, Wang Honggui, Li Liu "good for the new sound", and promote the development of the innovation of the western tone. In Hui and Han actors *** with the efforts, and gradually realized the West and Erhuang two cadences of the melting. At the beginning of different plays, according to different sources, respectively, sing Xi Pi or Erhuang; later, some plays will sing both Xi Pi and Erhuang, and even in the same section of the first singing Erhuang, after the transfer of Xi Pi, and can be coordinated with each other, all in one. Luo Cheng called Guan" (from Hui tune "Silt River") is an example. In terms of sound and rhyme, it has formed the pattern of "Zhongzhou rhyme, Huguang sound", and the characters are mixed with Beijing and Hubei sounds, and two kinds of four-tone values are used in Beijing and Hubei, and the characters are pointedly pronounced according to the rhyme of "thirteen ruts". The accompaniment of Erhuang was repeated several times, and finally during the reigns of Xianfeng and Tongzhi (1851-1874), the flute was abolished, and the huqin was used in unison with the xipi (with a different set of strings), but it was still accompanied by the flute according to the tradition of the Huiban when it was sung and blown.

Toward the end of the Daoguang period, a large number of Xipi operas appeared, and it was common for the Huiban to play both Pi and Huang. According to Yang Jingting's Du Men Jilu, which was published in the 25th year of the Daoguang period, the repertoire often performed by Cheng Changgeng of the Sanqing class, Zhang Erkui of the Sixi class, Yu Sansheng of the Chuntai class and Li Liu of the Chuntai class, and Wang Honggui of the Chuntai class, such as Wenzhaoguan, Catching and Releasing Cao, Tingjunshan, Beating Drums and Scolding Cao, and Sweeping Snow and Playing Bowls, etc, was roughly the same as that of the traditional repertoire commonly performed in Peking Opera stages, and the Huiban's trespassing on the Peking Opera stage had been largely accomplished by that time (although it was not called Peking Opera at that time). The Huiban's transformation into Peking Opera was basically completed (although it was not called Peking Opera at that time). According to another theory, Peking Opera was formed only after Tan Xinpei became famous (at the end of the 19th century and the beginning of the 20th century). The reason is that by that time the Pihuang opera from music, performance, to sing and read the word sound, sound rhyme, only with a strict standard; and before that, that is, the Cheng Changgeng era, still belongs to the category of Huizhou tune.

The Peking Opera came to Shanghai in 1867. The newly built Man Ting Fang Theater Garden from Tianjin about the Peking class, welcomed by the audience. In the same year, Dan Gui Tea Garden, through Beijing's San Qing Ban, also invited a large number of famous Peking opera actors, including Xia Kui Zhang (father of Xia Yuerun), Xiong Jin Gui (father of Xiong Wentong), and Feng San Xi (father of Feng Zihe), the flower girl. They all settled in Shanghai and became the Southern Peking Opera family centered in Shanghai. After that, more Peking Opera actors came south one after another, well-known ones include Zhou Chunkui, Sun Juxian, Yang Yuelou, Sun Chunheng, Huang Yueshan, Li Chunlai, Liu Yongchun, as well as the clapper flower girl Tian Jiyun (think Jiuxiao), thus making Shanghai another center of Peking Opera alongside Beijing.

Before this, around the early Xianfeng years, there were Kunban and Huiban performances in Shanghai. After the Peking Opera came into Shanghai, there was also the situation of Jing Hui on the same stage, Jing Kun on the same stage as well as Jing Bang (clappers) on the same stage. This played an important role in the formation of the characteristics of southern Peking Opera. After arriving in Shanghai, Wang Hongshou (Sanmazi), an outstanding actor of Huiban, often took part in the performances of Peking Opera and brought some Huizhou plays such as "Xu Ce Runs to the City", "Sweeping Pine Down to the Book", and "Snow Embracing the Blue Pass" into Peking Opera, incorporated one of the main cadences of Huizhou, the "Gao Piao Zi", into Peking Opera music, and absorbed into Peking Opera some of the Huiban's Hongsheng plays and their performance methods. This played a role in expanding the repertoire of Peking Opera and enriching the stage art. In addition, the artistic activities of the clapper artist Tian Jiyun in Shanghai also had an impact on the development of the Southern School of Peking Opera. His "lantern-colored play", "Bullfighting Palace", etc., was in fact the abusive tendon of the later "organ set and stage play". From the fifth year of Guangxu (1879), Tan Xinpei went to Shanghai six times, and later Mei Lanfang and other famous actors also frequently performed in Shanghai, which promoted the exchange of northern and southern Peking Opera and accelerated the development of the art of Peking Opera.

Before Peking Opera entered Shanghai, after the 10th year of Xianfeng (1860), it quickly spread to all parts of the country along with the travelers and the mobile performances of the opera troupes. For example, Tianjin and its surrounding Hebei region was one of the earliest areas for the spread of Peking Opera. At the end of the Daoguang period, Yu Sansheng was active in Tianjin (both he and his father were buried there after his death); Liu Chaisan, a clown actor, was first active in the box office in Tianjin, and later went to Beijing to "go into the sea". The clown actor Liu Chusan was first active in Tianjin's box office before going to Beijing. The veteran actor Sun Juxian was also once a fan of Yaojin. Shandong is the Hui class in and out of Beijing must pass through, Shandong merchants and is an important force in Beijing's economic activities, so Shandong early Peking Opera performances. Qufu Confucius Palace as early as the Qianlong Dynasty, there are Anhui artists to perform in the house. Peking Opera's earlier distribution areas are also Anhui, Hubei and the Northeast provinces. By the beginning of the 20th century, there were Peking Opera activities in Fujian and Guangdong in the south, Zhejiang in the east, Heilongjiang in the north and Yunnan in the west. During the Anti-Japanese War, Peking Opera also developed in Sichuan, Shaanxi, Guizhou and Guangxi.

In 1919, Mei Lanfang led a troupe to perform in Japan, and the art of Peking Opera was spread overseas for the first time; in 1924, he again led a troupe to perform in Japan, and in 1930, Mei led a troupe of twenty people to visit and perform in the U.S.A., which was a great success. in 1934, he was invited to Europe to visit, and he performed in the USSR, which was highly valued by the European theater community. Since then, Peking Opera has been viewed around the world as the Chinese school of acting.

I. Formation and Spread: The predecessor of Peking Opera was the Hui Ban, which was popular in Jiangnan in the early Qing Dynasty and mainly sang the blowing accent, high pizzicato, and Erhuang. Huiban was highly mobile, had frequent contact with other types of theater, and exchanged and penetrated each other's voices, so in the process of development, it also performed a lot of kun opera, and absorbed luo luo cavity and other miscellaneous songs. In 1790, the first Hui class (Sanqing class), headed by Gao Langting (named Yueguan), entered Beijing to participate in a performance to celebrate the 80th birthday of Emperor Qianlong. Yangzhou painting boat record: "Gao Langting into the capital, to Anqing flower department, combined with the Beijing-Qin two cavity, named its class said three Qing." Published in the twenty-second year of the Daoguang (1842) of Yang Maojian "Meng Hua Zuo Lu" also said: "and three Qing and in the first of the four joys, Qianlong 55 years gengxu, Emperor Gaozong eighty years of longevity into the wish box, said 'three Qing Hui', is the ancestor of the Hui class." Wu Zishu in the "With the Garden Poetry" annotated more specifically pointed out that "the Governor of Fujian and Zhejiang Wu Nala order Zhejiang salt merchants with Anqing Hui people all Zhu Li". Subsequently, there are a number of Huiban successive Beijing. Famous for the three Qing, four happy, Chuntai, and spring four classes, although and spring was established in the Jiaqing eight years (1803), later than the three Qing thirteen years, but the later generation and still called the "four big Huiban into Beijing".

The artistic characteristics of Huiban are the main reason why it is able to win in the competition. In terms of voice, in addition to the singing of the Erhuang tune with a new sound to capture the people, it "liaison with the sound of the five parties, the same" ("Sun down to see the flowers"); in terms of the repertoire, the subject matter of a wide range of diverse forms; in terms of the performance, pure and simple and sincere, the line of work complete both military and civilian, and therefore suitable for the majority of the audience's appreciation of the requirements.

The process of Huiban's growth and development is also the process of its trespassing to Beijing opera. The completion of this transmutation, the main symbol for the merger of Hui and Han and the fusion of Pi-Huang, the formation of the two cadences of Xi-Pi, Er-Huang two cadences based on the musical system of the board cavity singing, so that the singing, reading, doing and playing the performance system is gradually perfected. The earliest Han tune actor who went to Beijing with the Hui class was Mi Yingxian (also known as Mi Xizi), a native of Chongyang, Hubei (said to be a native of Anhui), born in the 45th year of the Qianlong reign (1780), who joined the Chuntai Hui class to sing in Beijing in the Jiaqing reign, and acted as a Zhengsheng, excelled in the Hongsheng play, and had a very high reputation (see Menghua Zuobian and Li Dengqi's "Frequently Talked About Recordings"). He was regarded as the forerunner of the famous Han Opera actor Yu Sansheng (at that time, there was a line in the opera lyrics that reads, "Yasai's year was Mi Yingxian"). During the Daoguang period (1821-1849), there was a gradual increase in the number of Chinese opera singers who went to Beijing to join the Hui class, and the famous ones were Wang Honggui and Li Li. Su Hai'an's "Yantai Hongzhu ji" (written before the 12th year of the Daoguang period) says: "The capital is still in the Chu style. Musicians such as Wang Honggui, Li Liu good for the new claim at the time." Chu tune that is, Han tune, that is, Xipi tune. It can be seen at that time Beijing has been popular in the western tone, Wang Honggui, Li Liu "good for the new sound", and promote the development of the innovation of the western tone. In Hui and Han actors *** with the efforts of the gradual realization of the two accents of Xipi and Erhuang intermingling. At the beginning of different plays, according to different sources, respectively, sing Xi Pi or Erhuang; later, some plays will sing both Xi Pi and Erhuang, and even in the same section of the first singing Erhuang, after the transfer of Xi Pi, and can be coordinated with each other, all in one. Luo Cheng called Guan" (from Hui tune "Silt River") is an example. In terms of sound and rhyme, it has formed the pattern of "Zhongzhou rhyme, Huguang sound", and the word sound is mixed with Beijing sound and E sound, and two kinds of four-tone value are used in Beijing and Hubei, respectively, and the word sound is pointedly regimented, and it rhymes in accordance with the "thirteen ruts". The accompaniment of Erhuang was repeated several times, and finally during the reigns of Xianfeng and Tongzhi (1851-1874), the flute was abolished, and the huqin was used in unison with the xipi (with a different set of strings), but it was still accompanied by the flute according to the tradition of the Huiban when it sang and blew.

Three periods of development: From 1860 to 1949, Peking Opera went through three stages of development.

The period from 1860 to about 1917 was a time of further maturation of Peking Opera. In terms of repertoire, the traditional repertoire inherited from Hui, Han, Bang, Kun, etc., became more refined through continuous processing and refining in performance practice. Many of the principal plays were gradually reduced in length and streamlined into self-contained folds, such as the full-length "Cosmic Frontier," which was usually performed only in the two folds of "Xiu Ben" and "Golden Temple. Before and after the Xinhai Revolution, a number of new dramas that were closely related to reality appeared in the midst of social and political changes, such as Wang Xiaonong's Crying at the Ancestral Temple and Melon Seeds and Orchids. In terms of music, there was an increase in the style and tunes, and the character sounds and rhythms were more stereotypical, making the Peking Opera singing euphemistic, melodious, and more distinctive. In terms of stage performance art, it is also more delicate, refined and colorful. In the history of Peking Opera, the first three masters (Cheng Changgeng 1811-1880, Hui School; Yu Sansheng 1802-1866, Han School; Zhang Erkui 1813-1860, Peking School) still have the local color of Hui and Han, the predecessor of Peking Opera, and the last three masters (Tan Xinpei 1847-1917, Sun Juxian 1841-1931, Wang Guifen 1860-1906) have gradually blended and sublimated the local color of the original kind. The local color has gradually blended and sublimated into the artistic characteristics of Peking Opera itself.

Since the ninth year of Guangxu (1883), a large number of famous Peking Opera actors and actresses were enlisted one after another as "inner court servants", receiving a certain amount of silver and rice, usually performing in the theater, and irregularly called into the palace to serve as an errand boy, which broke the old system of the palace's repertory since the Qianlong period. Due to the love of the royal aristocracy, both for the performance of the generous material conditions, but also in the art of strict requirements, thus leaving a number of relatively complete repertoire, and for the strict standardization of the art of Peking Opera has laid the foundation for the development of the art. At the same time, the palace performances also brought some negative effects to Peking Opera in terms of the tendency of repertoire content.

During this period, some Peking Opera artists directly participated in political struggles. For example, in the Hundred Days' Rebellion, the famous artists Yu Yuqin and Tian Jiyun tended to change the law, and delivered messages for the Guangxu Emperor. In Shanghai, during the attack on the Manufacturing Bureau by the Xinhai Revolution, Pan Yueqiao and Xia Yuerun directly participated in the battle and were honored by Dr. Sun Yat-sen.

In the twenty-fourth year of Guangxu (1908), the first new stage of modernized theater appeared in Shanghai. Out of patriotic fervor, Brother Xia Yueyun built a theater with lighting and scenery facilities on the ground outside the "rented area" at that time, changing the traditional square stage, thus promoting the innovation of the stage art of Peking Opera, and influencing other places.

From 1917 to 1937, Peking Opera was at its peak. In terms of repertoire, traditional plays were continuously processed and renovated, while a large number of newly created plays emerged. The range of themes expanded, and the number of plays expressing patriotic and democratic ideas increased. The repertoire was more tightly integrated with the performance characteristics of the actors, and there appeared repertoires that were unique to certain artistic genres. In terms of stage art, the art of genres developed greatly. Earlier, the Peking Opera stage was dominated by the Lao Sheng, and the Lao Sheng school was relatively obvious. By this period, Mei Lanfang, Cheng Yanqiu, Xun Huisheng, and Shang Xiaoyun were determined to innovate and actively rehearsed new plays. Mei Lanfang, in the new "Chang Moth Running to the Moon", "Farewell My Concubine", "Xi Shi" and other "costume plays", absorbed the traditional classical dance art into Peking Opera, singing tunes, accompaniment instruments are rich in costumes and make-up there are also many innovations. Cheng Yanqiu, Xun Huisheng, and Shang Xiaoyun also gave full play to their creativity and staged new plays that reflected their own artistic characteristics, such as Cheng Yanqiu's Spring Leap Dream, Xun Huisheng's Hairpin Phoenix, and Shang Xiaoyun's Concubine Han Mingfei, etc., and the situation of the "Four Famous Dancers" vying for the balance of power arose on the stage. This not only makes the art of Dan role glow with unprecedented splendor, but also drive other lines, the fight, a variety of genres. Such as the old man line, Yu Shuyan, Ma Lianliang, Gao Qingkui, Yan Jupeng, etc. are in the inheritance of tradition on the basis of the development of their own schools. In Shanghai, Zhou Xinfang (Kirin Tong), with his new repertoire such as "Chasing Han Xin under Xiao He's Moon", stood out, and his influence spread to all parts of the south of the Yangtze River, which is known as the "Ki School". In the Wusheng line, Yang Xiaolou and Shang Heyu, together with Li Chunlai and Gai Zhaitian from the south, also formed schools with distinctive artistic characteristics. In addition, the flower face, the young, old Dan, ugly, etc., are also talented, the Peking Opera stage has reached an artistic peak.

Since the 1920s, a large number of Peking Opera plays have appeared on the stage in Shanghai. This form of drama structure, originally characterized by vivid plot, beginning and end, and easy to understand, was welcomed by the general audience, and gradually became popular in the major cities in Jiangnan, and later spread to Beijing. Some of these pieces also became independent single-fold performances. However, some of the plays went astray on the commercialization of capitalism. Sometimes the theme of the first play is still clear, but when the play continues, the more the number of books, the farther away from the topic.

In the same period, a large number of female artists appeared on the stage of Peking Opera, and some of them had high artistic achievements. Since the formation of Peking Opera during the years of Dao and Xian, Peking Opera actors, no matter raw, Dan, Jie Jing, Chou, all played by male actors. Around the Tongzhi period (1862-1874), Shanghai began to have a young girl's troupe, customarily known as the "funky children's theater"; after the Xinhai Revolution, Beijing and Tianjin also appeared in the women's troupe, some actresses, quite famous, but due to the social conditions of the limitations of the majority of the short-lived. 20 years later, many excellent actresses have come to the forefront, and the art of maturity, and can be independently pick the class. 1930 in Beijing Guangde Building, the implementation of co-education of men and women. In 1930, co-educational performances were organized in Guangde Building in Beijing (slightly earlier in Shanghai). These outstanding actresses, in addition to the earlier veteran En Xiaofeng, Shiaolanying, the Dan role Wang Keqin, Liu Xikui, etc., after the 1920s, there is the veteran Li Guifen, Meng Xiaodong, the Dan role Xue Yanqin, the new Yanqiu, and so on.

This period, in terms of talent training, received more attention and took new measures. From the Guangxu six years (1880 founded small Rong Chun class, to the Guangxu thirty years founded Fu Liancheng class, are the implementation of the hard work of young skills, technology first teaching methods. 1919 the southern establishment of the Nantong actor school (Ouyang Yuqian as director), established in Beijing in 1930, the Chinese Opera College (Jiao Juyin, etc., principal), the Shandong Provincial Theatre, founded in 1934, founded in 1938, Shanghai Theatre School, and the same year the establishment of the The Shanghai Theater School, founded in 1938, and the Xia Sheng Theater School, founded in Xi'an in the same year and moved to Shanghai after 1945, were all reformed on the basis of inherited traditions, focusing on cultural courses in addition to the basic skills, and teaching music and other artistic knowledge. This educational system and teaching methods, although still in the groping stage, but to improve the new generation of actors and actresses of the artistic cultivation has received a certain effect.

From 1937 to 1949, the Peking Opera troupe was divided and regrouped during the war." After August 13th, many Peking Opera actors and actresses actively participated in the salvation movement. After the war of resistance turned into a protracted stage, different situations emerged in the liberated areas, the state-controlled areas, and the enemy war zones. In the Shanxi-Gansu-Ningxia Border Region and other revolutionary bases, a large number of new historical and modern plays were staged during the eight years. The more well-known ones were The Great Battle of Pingxingguan, Forced to Liangshan, Three Strikes at Zhujiazhuang, and The King's Entry into the Capital, etc. In 1941, the Yan'an Ping Opera Research Institute was formed by the merger of the Yan'an Luyi Ping Opera Troupe and the Combat Ping Opera Society of the 120th Division of the Eighth Route Army, and a number of progressive Peking Opera performers and Peking Opera-loving new literati workers gathered in the revolutionary holy land, along with Peking Opera reformers of other revolutionary bases, and, in the midst of the difficult environment, cooperated with each other, and contributed to the development of Peking Opera. , cooperating with each other, and figuring out a way to push forward the development of Peking Opera. Many of them became the leading backbone of the opera front after the founding of New China. In the latter part of the war, some theater troupes and actors of the Japanese and pseudo-military were received and transformed.

In the Nationalist Region, soon after the war began, an anti-enemy propaganda team was formed, which included all kinds of operas and dramas, and toured all the war zones, performing new historical dramas, such as "The Fishing Song of Jianghan". After the abandonment of Wuhan, Chongqing, Chengdu, Kunming and other major cities, although Liu Kuitong, Liu Kueiguan, etc. to maintain the stage performances, but it is difficult to seek progress in art. In Guilin part of the Peking Opera actors and Tian Han, Ouyang Yuqian cooperation, committed to reform, compiled and performed the "Golden Mantle", etc., for the Peking Opera's initial experience of innovation.

In the enemy-occupied areas, Mei Lanfang "grows a beard to show his determination" and remains steadfast; Cheng Yanqiu lives in a farmyard and refuses to take the stage. Zhou Xinfang, in a difficult and dangerous environment, organized and performed nationally conscious plays such as "The Emperor of Hui and Qin," and fought against the enemy and the hypocrites. But on the other hand, the destruction of the Peking Opera by the reactionary rule also resulted in the depletion of talents and a lack of repertoire. The Fuliancheng Society, the Chinese Opera College and the Shanghai Drama School were all closed down successively. Until the late war, Li Shifang, Zhang Junqiu, Mao Shilai, Song Dezhu, and some actresses such as Yan Huizhu, Tong Zhiling, Wu Suqiu, Li Yuru, etc. were active on the stage of Peking Opera.

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