What are the famous songs in Peking Opera?

According to statistics, there are more than 5,800 Peking Opera repertoires in total.

The vast majority of them are traditional plays.

Traditional repertoire can be divided into several categories.

One category is the original repertoire of the Huizhou troupe, as well as the repertoire of the Han Dynasty or the repertoire of the Huizhou and Han Dynasties, such as "The Great Return of the Dynasty", "Odd Double Club", "Cherry Beating", "The Drunken Concubine", "Luo Cheng Ming"

"Guan", "The Number One Scholar", "Battle in Changsha", "Beating Drums and Scolding Cao", "Selling Horses with Mace", "Four Jinshi", "Li Ling Stele", etc.

The other type is plays transplanted from Bangzi, such as "Tiegongyuan", "Xin'anyi", "Yutangchun", "Big Split Coffin", etc.

The other category is the repertoire of Kunqiang opera, such as "Sifan", "Study", "Wandering in the Garden", "Dreams", "Fighting the Tiger", "Mountain Gate", etc.

There are also some short plays singing "luoluo" and "new silk", such as "beating the noodle vat", "little cow herding", "beating the flower drum", "visiting relatives' home", etc.

These repertoires from Anhui, Han, Kun and Bang still retain to some extent the charm of their predecessors in terms of singing tunes, performance methods and artistic styles.

After the formation of Peking Opera, most of the plays written and performed by artists were based on long narratives such as "The Romance of the Three Kingdoms", "Journey to the West", and "Shuo Yue".

The earlier ones include the thirty-six volumes of "Three Kingdoms" compiled by Lu Shengkui (some say forty volumes), "Shuangxindou" edited by Yang Longshou, and "Bada Na" (namely based on Huang's "Shi Gongan") compiled by Shen Xiaoqing and others.

A number of plays with Tian Ba ??as the protagonist). Before and after this, Shanghai Peking Opera artist Wang Hongshou and others also wrote and performed some plays. Among them, one to twelve "Iron Rooster" is said to have been written by him.

Since then, in the Peking Opera reform movement at the end of the Qing Dynasty and the beginning of the Republic of China, more new operas written by literati and artists appeared.

In Shanghai, Wang Xiaonong and others' "Party Monument", "Melon Planting Orchid", "New Camellia", "Blood and Tears Monument", "Hate Sea", etc., all have certain social significance.

Later, with the help of new literary and artistic workers, Zhou Xinfang also edited and performed "Song Jiaoren", "Learning to Boxing and Fighting King Kong", etc.

In Beijing, literati Qi Rushan, Luo Ying Gong, Chen Moxiang, Jin Zhongsun and others successively wrote many new plays for the "Four Famous Danes", such as "Farewell My Concubine", "Qingshuang Sword", "The Hairpin Head Phoenix" and so on.

Since the 1920s, Shanghai's Eugene Gui and others have written a large number of scripted plays.

Many of the traditional Peking Opera repertoires have high ideological content, such as "The Case of the Beauty", "Fishing and Killing the Family", "Four Jinshi", etc.

More plays reflect ancient life from various angles, enrich people's knowledge, or give people healthy artistic enjoyment.

Such as "The Meeting of Heroes", "Shicheng Plan", "Yutangchun", etc.

However, there are also a few plays that promote feudal morality and describe erotic murders, such as "Nine Watching Days", "Two Bells", "Murderful Son" and so on.

Peking Opera tradition also suffers from the imbalance between script and performance.

Some scripts are readable, while others are stage-readable and not very literary.

Many repertoires have become increasingly mature and become artistic masterpieces after actors continuously enriched them through stage practice.

Peking Opera writers who have great influence include Lu Shengkui (representative works "Three Kingdoms", etc.), Wang Xiaonong (representative works "Weeping in the Temple of the Ancestor", "Splashing Water in Front of the Horse", etc.), Luo Yingong (representative works "Green Frost Sword", "The Story of the Golden Lock", etc.)

, Chen Moxiang (representative works "The Hairpin Phoenix", "Er You in the Red Chamber", etc.), Qi Rushan (representative works "Taizhen Gaiden", "Farewell My Concubine", etc.), Yang Shaoxuan (representative work "The King of Liangshan"), Weng Ouhong (representative work "Suo Qi"

"Bang" and "The Harmony of Generals" with Wang Jiezhu, etc.), Ma Shaobo (representative works of "The King Enters the Capital", "Song of Righteousness", etc.), Fan Junhong (representative works of "Man Jiang Hong" and "The Female General of the Yang Family" with Lu Ruiming).

After the founding of the People's Republic of China, the art of Peking Opera was reborn.

It has compiled a large number of traditional plays, compiled and performed many new historical plays and modern plays, and made contributions to the socialist revolution and construction.

Especially after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China, the art of Peking Opera has been revived and embarked on a new development path after correcting the chaos.

The main plays that have been compiled and adapted include "The Legend of the White Snake", "Wild Boar Forest", "The Harmony of Generals and Prime Ministers", "The Female General of the Yang Family", "Mu Guiying Takes the Command", "The Matchmaker", "Wangjiang Pavilion", and "Li Huiniang".

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The historical dramas he has created include "Going to Liangshan", "Three Attacks on Zhujiazhuang", "Man Jiang Hong", "Wu Zetian", "Xie Yaohuan", "Black Tornado Li Feng", "Hai Rui Dismissed from Office", "Song of Righteousness", "Xu Jiujing's Promotion"

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Modern dramas include "The White-Haired Girl", "Zhao Yiman", "Dino", "Assault on the White Tigers", "Jie Zhenguo", "Taking Tiger Mountain by Wisdom", "The Story of the Red Lantern", and "Shajiabang"

, "Azalea Mountain" and so on.