What is the origin of Peking Opera?

Peking Opera, also known as "Pihuang", is composed of two basic tones, Xipi and Huanger. It also sings some local tunes (such as Liu Zi Opera and Blowing Opera) and Kunqu Qupai. 1840 was formed in Beijing and prevailed in 1930s and 40s. It is sometimes called "National Opera". It is still a big drama with national influence. It is the representative of China modern opera, with comprehensive business, mature performance and magnificent momentum. Peking Opera is the quintessence of China with a history of 200 years. Historical Evolution The main body of Peking Opera is more inclined to folk culture or bottom culture in the whole China culture. Even if it prospered rapidly because of the love of the Manchu Empress and the Eight Banners, it was not enough to change this aesthetic feature. Of course, it is precisely because Peking Opera, based on folk tastes, has gained an unprecedented position in all folk arts from the late Qing Dynasty to the whole 20th century. It also maximizes the influence of folk culture and aesthetics from the artistic noumenon, and promotes the position of folk taste in China cultural tradition.

First, the incubation period

Qin Hui concourse

In the early Qing Dynasty, Kunqu Opera and Peking Opera (Qingyang Opera) prevailed on the stage of Peking Opera. After the mid-Qianlong period, Kunqu opera gradually declined, and the prosperity of Beijing dialect replaced Kunqu opera to unify the Beijing stage. Forty-five years after Qianlong (1780), Wei Changsheng, a Shaanxi opera artist, came to Beijing from Sichuan. Wei took the Shuangqing class to perform "Rolling the Ground" and "Holding the Baby into the House" in Shaanxi Opera. Wei Changsheng is handsome in appearance, sweet in voice, euphemistic in singing and exquisite in workmanship. The publication of "Rolling the Floor" caused a sensation in Beijing. Shuangqing class is also called "the first in Kyoto". From then on, Peking Opera began to decline. The six famous classes of Peking Opera, Dacheng, Wang Fu, Qing Yu, Qing Yu, Cuiqing and Baohe, were neglected and joined the Shaanxi Opera class to make a living. In the fifty years of Qianlong (1785), the Qing court was indecent to Wei Changsheng's performance, forbidding him to perform in Beijing and expelling Wei Changsheng from Beijing.

In the fifty-fifth year of Qianlong (1790), after the Sanqing Huizhou class settled in Beijing (the class was located in Hanjiatai Hutong), there were also classes of Sixi, seven show, Nicui, Chuntai, Hechun, Sanhe, Songzhu, Jinyu and Dajinghe, which also performed in Dashilan area. Among them, Sanqing, Sixi, Hekou and Chuntai are the most famous, so they are also called "Huizhou Four Classes". According to the Records of Hanshu, Chuntai Board entered Beijing before the late Qianlong period, and when it served as the pillar of Chuntai Board in Beijing, it proved that Chuntai Board entered Beijing earlier than Sixi and Chunchun. Chuntaiban' is located in Baishun Hutong. Sixi class came to Beijing at the beginning of Jiaqing. Hui Opera and Kunqu Opera are staged at the same time, especially Kunqu Opera, so there is a class called "A Peach Blossom Fan in a new row and four happy classes scattered everywhere" located in Shaanxi Lane. Hechun Class was established in Litieguai Street in the eighth year of Jiaqing (1804). This class is good at Wushu. Daoguang was dissolved in the 13th year (1853). The repertoire and performance style of "Four Classes in Huizhou" have their own strengths, so they are sometimes called "the axis of three celebrations, the joy of four joys, the handle of spring and the son of the stage of spring". "Huizhou Class Four" not only sings Huizhou tunes, but also uses Kunqu Opera, Blowing Opera, Siping Opera and Bangzi Opera. In the performing arts, it absorbs and draws lessons from the strengths of various operas and integrates them into Huizhou Opera. At the same time, the performance lineup is neat and the repertoire is rich, which is quite popular with Beijing audiences. Since Wei Changsheng was forced to leave Beijing, Shaanxi Opera has been depressed. In order to make a living, Shaanxi opera artists have joined the Huizhou class one after another, forming a situation of the integration of Anhui opera and Shaanxi opera. In the process of the confluence of Hui and Qin, the Hui class has absorbed the essence of Shaanxi opera singing and performance extensively, transplanted a large number of scripts, and created favorable conditions for the further development of the art of Hui opera.

Hui-Han confluence

Han Opera is popular in Hubei, and Huang Er and Xipi in its voice cavity are related to Hui Opera. Anhui Opera and Han Opera had extensive artistic blending before entering Beijing. Following the last years of Qianlong, Mi Ying, a famous Chinese opera master, went to Beijing, and at the beginning of Daoguang (182 1), Li Liu, Wang Honggui, Long Deyun and others, famous Chinese opera elders, went to Beijing successively to sing in Chuntai and Chunban of Huiban respectively. Mi Ying was first famous for singing Guan Yu's plays, and Cheng Changgeng, the monitor of Sanqing, first taught all the red and clean plays in Mi Ying. Li Liu is good at drunk writing scary books and sweeping snow; Wang Honggui is famous for "Let Chengdu" and "pass the parcel Cao"; Xiao Shenglong Deyun is good at performing plays, such as Shooting at the Jib at the Yuanmen and The Yellow Crane Tower. Yu Sansheng, with a mellow voice and beautiful singing skills, is famous for playing such old dramas as Dingjun Mountain, Shiro Visiting Mother, Selling Horses as Hemp, and Touching Monuments. After the actors of Han Opera joined the Hui Opera, they integrated tunes, performance skills and repertoires into the Hui Opera, which made the singing of the Hui Opera increasingly rich and perfect, and the singing method and singing style were more Beijing-like, which was easy to be accepted by Beijingers. In the twenty-five years of Daoguang (1845), Mingtang was the foreman of old students. After the confluence of Hui and Han Dynasties, Hubei Xipi tune and Anhui Huang Er tune were exchanged again. The confluence of Hui, Qin and Han laid the foundation for the birth of Peking Opera.

Second, the formation period.

From the 20th year of Daoguang to the 10th year of Xianfeng (1840-1860), Peking Opera was formed by the confluence of Hui Opera, Qin Opera and Han Opera, absorbing the strengths of Kunqu Opera and Peking Opera. One of its signs: the tune is complete and rich, surpassing any of the three major operas of Hui, Qin and Han. Singing is a mixture of banqiang and Qupai styles. The acoustic cavity is mainly composed of Er Quan and Xipi Tongguang Thirteen Musts. Second, the business is generally complete; Third, a number of Peking Opera plays have been formed. Fourthly, Cheng Changgeng, Yu Sansheng and Zhang Erkui are the representative figures in the early stage of Peking Opera, and they are called "old pedant, three outstanding figures" and "three Ding Jia", namely Zhang Erkui, Cheng Changgeng and Yu Sansheng. They have their own characteristics in singing and performing styles, and have made outstanding contributions to the main melody, Xipi, Ersong and the form of Peking Opera, as well as the creation of spoken language and pronunciation with Beijing language characteristics. Among the first generation of Peking Opera actors, there are still old students, such as Lu Shengkui, Xue, Zhang Rulin and. Xiao Shenglong Deyun and Xu Xiaoxiang; Hu Dan Xi Lu, Luo Qiaofu, Mei Qiaoling: ugly Yang Mingyu and Liu Gansan; Hao Lantian and Tan Zhidao, Lao Dan; Jing Zhu Madazi, Ren Hualian and others. They have unique creations to enrich the vocal cavity and performing arts in all walks of life. Mei Qiaoling, the monitor of Sixi Class, bravely broke through the old rules of strict division of labor between Tsing Yi and Hua Dan, and opened up a new way for Dan Jiao's singing art.

Thirteen Musts of Tongguang is a portrait of a famous figure in the history of Peking Opera, painted by Shen Rongpu, a folk painter in the late Qing Dynasty. He referred to the figure painting form of The Thirteen Musts of Peking Opera painted by the painter He Shikui in the middle of Qing Dynasty, and selected thirteen famous actors (Cheng Changgeng, Lu Shengkui, Zhang Shengkui, Yang Yuelou, Tan Xinpei, Xu Xiaoxiang, Mei Qiaoling, Shi, Yu Ziyun, Zhu Lianfen, Shi) on the Peking Opera stage during the Tongzhi and Guangxu periods of Qing Dynasty (l860- 1890). This painting was acquired by Zhu Fuchang, an evolutionary society, in 32 years of the Republic of China (1943). Restore and photocopy it, and attach a volume of Thirteen Biographies of Celebrities in Tongguang.

Third, maturity

During the period of 1883- 19 18, Peking Opera entered a mature stage, represented by Tan Xinpei, Wang Guifen and Sun Juxian. Among them, Tan Xinpei inherited the strengths of Cheng Changgeng, Yu Sansheng, Zhang Erkui and other great artists, and through creation and development, pushed the art of Peking Opera to a new and mature realm. In his artistic practice, Tan learned from others, borrowed from Kunqu Opera, Bangzi, Drum, Beijing Opera, Tsing Yi, Hualien, etc., and merged into singing, forming a "Tan School" with a unique singing artistic style, forming a situation of "learning Tan without a cavity". After the 1920s, Yan, Yan, Ma and others all developed into different artistic schools on the basis of Tan School. Wang Guifen, an artist living in Cheng Changgeng, has a strong and melancholy voice, solemn and stirring, simple tone, and comments on "Roaring Tigers and Singing Dragons". He has the reputation of "Chang Geng reincarnation" because "imitation can confuse the truth". Sun Juxian, 18 years old, chose Wu Xiucai, who is good at singing Peking Opera and often sings at the box office. At the age of 36, he joined Cheng Changgeng. He is noisy and comfortable. Nianbai is not limited to Huguang sound and Zhongzhou rhyme, but mostly uses Beijing sound and Beijing characters, which sounds kind and natural. The performance is generous and realistic, close to life. The "three masters after the older generation" have their own emphases and different artistic styles. Judging from the comprehensive balance, his combination of civil and military skills is unstoppable, and his artistic attainments and development of Peking Opera far exceed that of Wang and Sun. During Guangxu period, Tan Xinpei was called the "King of Music", and its position in drama was comparable to that of Cheng Changgeng. In the tenth year of Xianfeng (186 1), Peking Opera began to be performed in the court. From the sixth day of May to the end of that year, there were performances by Sanqing Class, Sixi Class, Shuangkui Class and Foreign Class (Peking Opera Class). In the 9th year of Guangxu (1883), Cixi celebrated her 50th birthday, and 18 people, including Zhang Qilin, Yang Longshou, Bao Fushan, Cai Fulu and Yan Fuxi, were elected to serve in the palace, not only singing, but also teaching Peking Opera and skills to eunuchs. Since then, every year, famous artists such as Sun Juxian, Wang Langxian, Yu,,, and Mu have entered the palace to serve. Because Cixi loves Peking Opera, famous Peking Opera artists frequently enter the palace to perform, and the momentum is getting stronger and stronger. In the same period, Guangde Building, Sanqing Garden, Qingyuan Garden, Zhonghe Garden and Wenming Garden performed Peking Opera every day, forming a unified situation of Peking Opera. The mature period of Peking Opera includes Xu and Jia Honglin, in addition to the "three outstanding figures after Old Master Q". Vu Thang Jusheng Yu and Yang Longshou; Jing Jiashan, Huang Runfu, Jin Xiushan, Qiu Guixian, etc. Wang Langxian, De Junru, Lu Huayun:, Tian Guifeng,, Zhu; Wang Changlin, Zhang Hei, Luo Baisui, Xiao Changhua, Guo Chunshan. During this period, the appearance of the bear foot formed a trend that kept pace with the birth of the bear foot. Jusheng Yu, a martial artist, was the first man to stand on his own feet. It is called "the originator of martial arts" by later generations. The above-mentioned famous artists have innovated and developed in inheritance, and their singing skills have become increasingly mature, pushing Beijing opera to a new height.

Fourth, the heyday

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. Because the elegant cultural tradition advocated by literati was destroyed in the 20th century, Peking Opera reached its heyday.

Four Peking Opera Famous Corners 1927, Beijing Shuntian Inch Newspaper held the selection of Peking Opera Famous Corners. The results of readers' voting: Mei Lanfang won the "Four Famous Corners" for her role in The Legend of Reality, Shang Xiaoyun won the "Four Famous Corners" for her role in Modern Jia Nv, Cheng won the "Four Famous Corners" for her role in Hong Fu Nv, and Xun Huisheng won the "Four Famous Corners" for her role in Dan Qing Introduction. 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. After Jusheng Yu and Yang Yuelou, the martial artist Yang Xiaolou developed the performance art of Beijing opera martial artists to a new height, and was known as "the master of traditional Chinese opera" and "the master of martial artists". Together with, Yan and Ma, they were called the "four big students" in the 1920s. At the same time, Shi, Wang Fengqing and Guan Dayuan are also outstanding talents in their careers. In the late 1930s, Yu, Yan and Gao withdrew from the stage one after another, and they were called "four big students" together with Ma, Tan, Xi Xiaobo and Yang. Meng Xiaodong, female, with high artistic attainments, has the artistic demeanor of a teacher in Yu Shuyan.

1in the autumn of 936, Beijing opera lovers and audiences in universities and middle schools in Beijing wrote to the newspaper, proposing to choose Peking opera child stars. Zhang, president of Liancheng Society, reached an agreement with Jin, president of Liyan Newspaper in Beiping. The newspaper issued a notice to accept votes from all walks of life, published the voting figures in the newspaper day by day, and invited several people from Yunshi Society to supervise the newspaper. The voting date is set at half a month, and the leaders of Chinese Opera School and Fulian City Club, as well as The Times, Practical Vernacular Newspaper, Beijing Evening News and Drama Newspaper, also sent people to check the tickets on the spot. As a result of the election, Li Shifang of Fulian City Society won about 10,000 votes and was elected as "Chairman of Tongling". Wang Jinlu, champion of the Ministry of Health, and Ye Shichang, runner-up; Danjiao champion Mao Shilai, runner-up Song Dezhu; Qiu Shirong, champion of Clean Corner, and Zhao Deyu, runner-up; Master Zhan, clown champion, and Yin Jinzhen, runner-up. After the election, a celebration was held at the Fulian City Club of Hufangqiao, and a coronation ceremony was held at the Hua Le Theater in Xianyukou that night. Li Shifang and Yuan Shihai performed Farewell My Concubine.

After Tong Ling was elected, Li Shifang, Zhang Junqiu, Mao Shilai and Song Dezhu were elected as the "Four Little Famous Danes", and the "Four Little Famous Danes" jointly performed "The Legend of the White Snake" and "Four Five Flowers Cave" in Chang 'an and Xinxin Theater to show their congratulations.

Various schools and talented people come forth in large numbers, which is another symbol of the heyday of Beijing opera. During this period, in addition to the Yang School, the Mei School of Lanfang, the Shang School of Xiaoyun, the Cheng School and the Xun School of Huisheng, there were other schools, such as the Dezhu School and the Zhang School. Yu School (,Gao School (,Qing Kui), Yan School (,Ma School (), Yang School () and Xintan School () in Old Life Tour; Jin School (Shaoshan), Hou School (), Hao School () and Qiu School () formed after 1950s; Jiangpai (Miao Township) and Yepai (Shenglan) in Xiaoshengchu; Gong Pai (Yunfu) and Li Pai (Duokui) of Lao Danxing; Ye Pai (Zhang Sheng) in Ugly Behavior, etc. At the same time, there are many Peking Opera performing artists, such as Wang Fengqing, Shi, Wang,,,, Li, etc. Yan, Xu Biyun, Zhu, Xue Yanqin, Xin, Zhang Zhuoyun, Jin Shaomei, Bi, Qin Xuefang,, Tong Lingzhi, Liang Xiaoluan, Wu Suqiu, Zhao Yanxia, Du Jinfang, etc. KAI, Rufulan and Cheng Jixian in the niche; Guo Chunshan, Ci Ruiquan, Ma Fulu and Zhang Chunhua.

Huizhou merchants:

Huizhou merchants are rich, and the success of business has triggered a surge in cultural consumption desire. With the development of social economy and the rise of Kunshan dialect, there are many classes who support their families. They try their best to collect songs and dances for Qianlong, Xiajiang and Jiangnan, and are willing to pay a lot of money to package the color art of Anhui opera, which objectively creates conditions for Anhui opera to enter Beijing. Huizhou merchants who ruled the Ming and Qing business circles for more than 500 years were famous for their salt merchants, especially Shexian County in Huangshan, which was rich in salt merchants. With the development of social economy and the rise of Kunshan dialect, scholars and businessmen in Jiangnan and Jiangbei have started family drama. Huizhou merchants who have made their mark in foreign business circles have followed suit. A Chinese opera troupe used by Huizhou merchants for a long time is called "Huizhou Class" by outsiders. Local operas along the Yangtze River in Anhui, including ancient Huizhou, also began to flourish. They sang Kunqu opera, but they didn't "tune in" because of language differences, and inadvertently sang a little "local flavor". Therefore, under the influence of Qingyang tune, Anhui tune-"Huikun" was sung, which later developed into Huang Er tune. Shipai tune produced in Huaining County, Anqing City, Anhui Province is the most famous. Huizhou artists went to Yangzhou with local accent, and they were sheltered by their families and strongly supported by Huizhou merchants. They either haunt the pier street or are taken in by the Fu family of Huizhou merchants. With the development of skills, the local accent gradually gained the upper hand. At this time, the concept of Huizhou stratum was not completely "Huizhou merchant stratum", but began to have the meaning of Huizhou tune (Shipai tune and random tune).

It is worth mentioning that Jiang Chun, a big salt merchant in Shexian County, is a connoisseur of opera with high taste. He likes opera very much. There are often three or four plays at home, and there are hundreds of guests in pavilions that day. He brought all kinds of famous people together, made different voices complement each other on the same stage, and made the Huizhou class, which has sprung up suddenly, have an open pattern of learning from others. "Jump" and singing, the fire is not normal. At this time, the most famous dramatist was from Anqing. Dou wrote in "Yangzhou Painting Spectrum": Anqing's color art is the best, which is based on local chaos, so some people are hired between local chaos. Huizhou merchants have gained a firm foothold in the business world and become more and more closely related to the art of traditional Chinese opera. The "Huizhou class" with a large number of playwrights has been further developed under the new historical conditions.

"Without stones, there is no class"

Shipai is an ancient market town in Huaining County, Anqing City. The word "stone" refers to here and Anqing and its counties. By the middle of Qing Dynasty, Shipai had become a famous commercial center with 3,000 merchants and 1000 sailboats. Businessmen from Jiangxi, Fujian and Hubei have set up museums here. At that time, in addition to local residents, Shipai used to be boatmen and businessmen. When the problem of survival became easier, they began to establish their own market culture.

At that time, there were as many as 800 drama stages available for performance, not only theaters, theaters, but also flower stands. There are three theaters in Shipai Town. The Changle Grand Theater in Shangzhen Hengjie can accommodate more than 600 people, specially designed for Huizhou tune and leather spring classes. The theater is usually in the ancestral hall. At ordinary times, the ancestral temple theater only sings big plays. Every winter solstice festival, when the clan members are promoted and the clan officials and gentry celebrate their birthdays, they are invited to perform in the theater. In addition, when the ancestral temple is completed, the whole class will be invited to sing opera to congratulate. "Du Jufu" describes: "The beauty of Huizhou class's loss of the sun began with Shipai". It shows that the Anhui class in Anqing once had a glorious history, and many famous Peking Opera predecessors came from this area, so there is a saying that "there is no stone, no class".

In the tiny place of Shipai, a group of masters such as Hao Tianxiu, Cheng Changgeng and Yang Yuelou were born. Four Huizhou classes went to Beijing, and the emperor marveled at the exquisite costumes and decorations of Anqing artists. "Anqing's color art is the best!" "No stone (card) is not a grade!" It was widely circulated for a time. Careful Beijing opera lovers can easily find that many words in Beijing opera aria are pronounced differently from Beijing dialect. If you know something about Anqing dialect, you will find that these words are exactly the same as those in Anqing dialect. After the four Huizhou classes went to Beijing, the stone artists continued to come to Beijing and constantly enriched the performance lineup of the four Huizhou classes. By the time of Tongzhi, nearly 100 stone artists had come to Beijing. Although there was a large outflow of Huizhou class and musicians at that time, the local Huizhou class also developed.

In the early Republic of China, Anqing had the People's Grand Theatre. At that time, most famous Peking Opera actors in China performed here. They all came to Anqing with a "pilgrimage" mood. Cao Yu, a great dramatist, got off at Beizhen, Huaining, and the first sentence was "I'm going on a pilgrimage". People who come out of the old Peking Opera class will not perform in Anqing for ten days and will not sing Lian Ben. At that time, it was considered as a "corner" with no future. Huizhou Opera, which originated in Shipai Township, Anqing Ancient Town, went out of the ancient town and went to Beijing. The glorious historical aura of Huiban's entry into Beijing still hangs over Shipai ancient town. Anqing is one of the cities that accepted modern civilization earlier in China, and it is also a national historical and cultural city. At the same time, Anqing is also the hometown of Huangmei Opera, a world-famous local opera. Cheng Changgeng Memorial Hall, located in Qianshan County, Anqing City, has collected more than 300 precious objects and pictures, representing the germination and development of Peking Opera. There is also Cheng Changgeng's former residence for opera fans to visit.

Troupe martial arts

According to historical records, "the drama in Liyuan was most prosperous when Gaozong (Ganlong) visited the south, especially the salt affairs in the two Huai Dynasties". In other words, the official agency is the responsibility of the salt government of two Huai provinces, and the salt affairs of two Huai provinces should store flowers and elegance for the southern tour. The refined and popular part is Kunshan Opera, and the floral part is Beijing Opera, Qin Opera, Yiyang Opera, Bangzi Opera, Luoluo Opera and Erbi Opera, which are collectively called Luantan. Troupes that undertake specific performance tasks are mostly funded by Anhui salt merchants and are called inner classes. At first, the troupe was a Lao Xu troupe funded by Xu Shangzhi, a salt merchant. Later, salt merchants Huang Yuande (Huizhou merchants), Zhang Daan, Wang Qiyuan (Huizhou merchants), Cheng Qiande, Hong Fu (Huizhou merchants) and (Huizhou merchants) also started classes. Jiang Chun, a merchant of Huizhou, set up a spring troupe. In order to enrich his own strength, he recruited four famous artists, including Yang Baguan of Suzhou and Hao Tianxiu of Anqing, as the pillars of the Spring Opera Troupe. Hao Tianxiu's performance is lovely and moving, which fascinates the audience and is called "pit death". Wei Changsheng, a famous Shaanxi opera actor, played Hua Dan and came to Yangzhou to take refuge in Jiang Chun. Jiang Chun had great respect for Wei Changsheng, and when he acted, he gave 1,200 pieces of silver. The joining of these famous actors greatly promoted the mutual integration and absorption of Yangzhou Peking Opera and Shaanxi Opera at that time, and further promoted the development of the flower department. Gaolang Pavilion in Sanqing Class and Hao Tianxiu in Chuntai Class are both famous "Anqing Flower Department Jingqinhe" in Jiangnan. Yangzhou salt merchants also hired some famous writers who are good at writing lyrics and songs according to the needs of performances, and provided long-term support with favorable conditions. Dahong class and Chuntai class are "gathering beauty and preparing for it". A peach blossom fan 1.6 million, and an eternal life hall of more than 400,000. This kind of ostentation and extravagance is inferior to others except the Forbidden City.

Su Chang Street Liyuan

The starting point of Huiban's trip to Beijing is Yangzhou. Before leaving, the actresses with stunts must gather at the Liyuan General Administration in Zhangsu Street to discuss the departure schedule and performances, and pose together there, shake their sleeves twice and sing some beautiful songs. Sometimes I simply rehearse a few passbook plays, or "Garden" or "Thinking of the Fan", which is full of sounds and feelings and graceful. At that time, the street where Sue sang was suddenly very lively!

Suzhou Singing Street is the only street in old Yangzhou that is directly related to the troupe. When Xu Shangzhi, a salt merchant, recruited Suzhou Kunqu artists, Lao Xu Class, the first Kunqu class in Yangzhou, was on this street. The hometown of Kunqu Opera is in Suzhou, so Suzhou is also called Su Kun. There are many singing artists in this small street, so Yangzhou people named it Su Singing Street.

Huiban into Beijing

In A.D. 1790, Huiban began an artistic journey to Beijing by singing birthday plays. After years of vicissitudes, in the process of continuous absorption, Huiban gradually lost its own color while "combining the voices of five parties". The history of Huiban is over, and Peking Opera born out of Huiban has finally become a world-renowned artistic treasure. For Huiban, it is nirvana.

Sanqing class began to perform.

/kloc-in the autumn of 0/790, in order to celebrate Ganlong's eightieth birthday, Yangzhou salt merchant Jiang Heting (Anhui native) organized a Hui Opera Troupe named "Sanqingban" in Anqing, and the artist Gao Langting led it to Beijing to attend the birthday banquet. This Huizhou class mainly sings Huang Er dialect, and also sings Kunqu opera, opera blowing and bangzi. And it is a parallel troupe of various operas. The birthday performance in Beijing is on a grand scale. From Xihuamen to the high-beam bridge outside Xizhimen, a stage is set up every few tens of steps, and the southern accent is transferred to the north, bringing together music from all directions to compete for beauty. Or sing string songs, or shake the fan dance shirt, the front has not stopped, the rear has risen, the group plays gather, and various arts compete for victory. In this art competition, the Sanqing Huizhou class, which entered Beijing for the first time, stood out and attracted much attention. Gao Langting of Sanqing class is from Anqing, Anhui. He was only 16 years old when he entered Beijing. He played the role of Dan and was good at Er Quan accent. "Look at the flowers now" called him: "I am a woman, and I have no strength. You don't need to ask for a song, smile and sit together, depicting the expression of women, and it is almost deformed. "

Four Huizhou classes in Beijing

After the success of Sanqing Class in Beijing, Anhui Class, such as Sixi Class, Riverlip Class and Chuntai Class, gradually dominated the Beijing theater. This is the so-called "Huizhou Class Four goes to Beijing".

The four major classes in Huizhou have their own strengths, and there is a saying that "the axis of three celebrations, the joy of four joys, the son of Chuntai, the son of Chuntai". Axis finger is famous for performing the whole drama continuously, Music finger is good at singing Kunqu opera, Zizhi wins by martial arts, and Zizhi is good at channeling.

In Beijing, where the wind of holding Dan prevails, the Gaolang Pavilion with extraordinary skills is naturally favored. After arriving in Beijing, he succeeded Yu Laosi, the former head teacher of Sanqing class, in charge of the class for more than 30 years. At the same time, he also served as the head of "Jingzhong Hall" organized by Shi Jing Opera Association, through which he managed Beijing Opera Troupe and Theatre, and became the leader of Liyuan. After Gao Lanting, Cheng Changgeng, Xu Xiaoxiang, Yang Yuelou and Liu Gansan all held this post.

By the early years of Jiaqing, Huiban had achieved a dominant position on the stage of Peking Opera. According to "Chinese Dream", "A theater must perform a play with Huizhou class". The largest theaters such as Guangde Building, Guanghe Building, Sanqing Garden and Qingyuan Paradise will also be dominated by Huizhou classes. The following' Huiban',' Small Class' and' Western Class' are all mixed. "

The performance of four Huizhou classes in Beijing opened the prelude to the magnificent history of Chinese Peking Opera for more than 200 years.

Faced with the omnipotent and meticulous artistic advantages of Huizhou class, all kinds of singers in Beijing are unable to compete with it, and most of them turn to Huizhou class. Among them, there are famous dramatists from Beijing Normal University, such as Mi, Hu Bei, a famous dramatist who joined Chuntai class, Han Xiaoyu (Pi Huang), a famous plucker from Hunan who joined Sixi class, and Wang Quanfu, a Beijing-born Peking Opera actor who joined Sanqing class. Thus, the trend of gathering a variety of dramas in Huizhou class has been formed. Therefore, in the process of various operas, Huiban gradually focused on the performance of Pihuang opera, from "Erguotou" to "Sanguotou" and then to "wind stirring snow".

Formation and spread

Peking Opera, formerly known as Huizhou Opera, was popular in the south of the Yangtze River in the early Qing Dynasty. It mainly sang and blew tunes, played high notes and played Huang Er. Huiban has strong mobility, frequent contact with other operas, and mutual communication and infiltration in vocal cavity. Therefore, in the process of development, it also performed many Kunqu operas, and also absorbed Luoluo cavity and other zaju. In the fifty-fifth year of Qing Qianlong (1790), the first Huizhou class (Sanqing class) headed by Gao Langting (a famous Yueguan) went to Beijing to participate in the celebration performance of Qianlong's 80th birthday. "Yangzhou Painting Boat Record" contains: "Gaolang Pavilion entered Beijing, with Anqing Flower Department and Beijing-Qin Erqiang, and the class name was Sanqing." Yang Maojian's Dream and Storybook, published in the 22nd year of Daoguang (1842), also said: "The three celebrations precede the four celebrations. When the emperor of Qianlong entered the governor's casting box in the fifty-fifth year, he called it the' Sanqing emblem', which was the originator of Huiban. " Wu Zishu pointed out more specifically in the Notes on Poems with Boundaries that "Na la Wu, Governor of Fujian and Zhejiang, ordered Zhejiang salt merchants and Anqing Hui people to wish Li." Later, many Huizhou classes went to Beijing in succession. The famous classes are Sanqing, Sixi, Chuntai and Hechun. Although He Shen was founded in the eighth year of Jiaqing (1803), which was later than the thirteenth year of Sanqing, it was still called "Huizhou Class Four went to Beijing" by later generations.