The Origin and Development of Peking Opera

Peking Opera: Also known as "Pihuang", its musical material consists of two basic tunes, "Xipi" and "Erhuang". It also sings some local tunes (such as Liuzi tune, blowing tune, etc.) and Kunqu opera tunes.

It was formed in Beijing around 1840, became popular in the 1930s and 1940s, and was sometimes called "national drama".

It is still a major opera with national influence.

With its comprehensive range of skills, mature performances and magnificent momentum, it is a representative of modern Chinese opera.

Peking Opera is China's "national quintessence" and has a history of 200 years.

Historical evolution The main body of Peking Opera is more of folk culture or bottom culture in the overall Chinese culture. Even if it prospered rapidly due to the favor of the Manchu emperors and the Eight Banners princes, it was not enough to change this aesthetic characteristic.

Of course, it is precisely because Peking Opera based on folk interests gained a status that had never been achieved by any previous folk art from the late Qing Dynasty until the entire 20th century. It also maximized the influence of folk culture and aesthetics from the perspective of art ontology, and enhanced the

The status of folk interest in Chinese cultural tradition.

1. The gestation period In the early Qing Dynasty when Huizhou and Qin Dynasties merged, Kun Opera and Beijing Opera (Qingyang Opera) became popular on the opera stage in Beijing.

After the middle period of Qianlong's reign, Kun Opera gradually declined, and Beijing Opera flourished to replace Kun Opera and dominate the Beijing stage.

In the forty-fifth year of Qianlong's reign (1780), Wei Changsheng, a Qin Opera artist, came to Beijing from Sichuan.

Wei took the Shuangqing Troupe to perform Qinqiang operas such as "Rolling on the Tower" and "Carrying a Baby into the Mansion".

Wei Changsheng has a handsome appearance, sweet voice, tactful singing, and exquisite workmanship. When he performed "Rolling Tower", he became a sensation in the capital.

The Shuangqing Class is therefore known as "the best in Kyoto".

Since then, Beijing Opera began to decline, and no one cared about the six famous troupes of Beijing Opera: Dacheng Troupe, Wangfu Troupe, Yuqing Troupe, Yuqing Troupe, Cuiqing Troupe, and Baohe Troupe, and they all joined Qin Opera troupes to make a living.

In the fiftieth year of Qianlong's reign (1785), the Qing government banned the performance of Qin Opera in the capital and expelled Wei Changsheng from the capital because his performance was offensive to moral standards.

In the fifty-fifth year of Qianlong's reign (1790), after the Sanqing Hui Class settled in the capital (the class was located in Hanjiatai Hutong), there were also Sixi, Qixiu, Nicui, Chuntai, Hechun, Sanhe, Songzhu,

Jin Yu, Da Jinghe and other groups also performed in the Dashilan area.

Among them, Sanqing, Sixi, Hechun and Chuntai are the most famous, so they are known as the "Four Major Anhui Troupes".

According to the time when the "Chuntai Troupe" came to Beijing, Mi Ying, a famous Han tune master, preceded the late Qianlong period and served as the leader of the "Chuntai Troupe" in Beijing. This proves that the Troupe entered Beijing earlier than "Sixi" and "Hechun".

‘Chun Tai Ban’ is located in Baishun Hutong.

The ‘Four Happiness Class’ came to Beijing at the beginning of Jiaqing.

It also performs Hui Opera and Kun Opera, especially Kun Opera, so there is a saying that "a new piece of Peach Blossom Fan will be spread everywhere by the Four Happiness Troupe".

This class is located in Shaanxi Lane.

The "Hechun Class" was established in Li Tieguai Xiejie in the eighth year of Jiaqing (1804).

The class is famous for martial arts.

It was disbanded in the 13th year of Daoguang's reign (1853).

The "four major Anhui troupes" each have their own strengths in repertoire and performance style, so they are known as "the axis of three celebrations, the music of four joys, the handle of Hechun, and the child of Chuntai".

In addition to singing Hui tunes, the "Four Major Anhui Troupes" also use Kun Tune, Blowing Tune, Siping Tune, and Bangzi Tune. It can be said that all tunes are played together.

In the performing arts, we have widely collected ideas, absorbed the strengths of various operas, and integrated them into Hui opera.

In addition, the performance lineup is complete and the repertoire is rich, which is very popular among the audiences in Beijing.

Since Wei Changsheng was forced to leave Beijing, Qin Opera has been in decline. In order to make a living, Qin Opera artists have joined Hui troupes one after another, forming a situation where Hui and Qin operas are integrated.

During the merger of Hui and Qin, Hui troupes widely adopted the singing and performance essence of Qin Opera and a large number of script transplantations, creating favorable conditions for the further development of Hui Opera art.

Hui-Han fusion Han opera is popular in Hubei, and the Erhuang and Xipi tunes in its tunes are closely related to Hui opera.

Anhui and Han operas had extensive artistic integration before entering Beijing.

After the famous Han opera master Mi Ying came to Beijing at the end of Qianlong's reign, at the beginning of Daoguang (1821), famous Han opera veterans Li Liu, Wang Honggui, Yu Sansheng, Xiaosheng Long Deyun, etc. came to Beijing and joined the Hui Troupe Chuntai and Hechun Troupes respectively.

Sing.

Mi Yingxian is famous for singing Guan Yu opera, and the Hongjing opera performed by Cheng Changgeng, the leader of Sanqing class, was taught by Mi Yingxian.

Li Liu is famous for his "Drunk Writing to Frighten the Barbarians" and "Sweeping the Snow"; Wang Honggui is famous for his "Let Chengdu" and "Beating Drums and Scolding Cao"; Xiaosheng Long Deyun is good at acting in "Shooting the Halberd at the Gate" and "Yellow Crane"

Yu Sansheng has a mellow voice, beautiful singing, and both literary and military skills. He is famous for his performances of Laosheng plays such as "Dingjun Mountain", "Silang Visits His Mother", "Selling Horses as a Mace", and "Pengping the Monument".

After Han opera actors joined the Hui opera troupe, they integrated their vocal tunes, performance skills, and repertoire into Hui opera, making the singing style of Hui opera increasingly rich and perfect. The singing and recitation were more characteristic of the Beijing area's pronunciation, making it easier for Beijingers to accept it.

In the twenty-fifth year of Daoguang's reign (1845), all famous classes had old students as foremen.

After the merging of Hui and Han Dynasties, Hubei's Xipi tune and Anhui's Erhuang tune were exchanged again.

The confluence of Hui, Qin and Han Dynasties laid the foundation for the birth of Peking Opera.

2. The formation period. From the 20th year of Daoguang to the 10th year of Xianfeng (1840-1860), Peking Opera was formed through the merger of Hui Opera, Qin Opera, and Han Opera, and by absorbing the strengths of Kun Opera and Beijing Opera.

One of its hallmarks is that the tunes are complete and rich in style, surpassing any of the three operas of Hui, Qin and Han.

The singing style is a mixture of banqiang style and qupai style.