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Beijing Opera, also known as "Beijing Opera", "National Opera" and "Pihuang". One of the most influential Han operas in China has a history of nearly 200 years. The name of Peking Opera first appeared in Shenbao in the second year of Guangxu reign in Qing Dynasty (1876). After Class Four of Huizhou School entered Beijing in the late Qing Dynasty, Yu Jiaqing and Daoguang cooperated with Hubei artists and influenced each other. They gradually accepted some plays, tunes and performance methods of Kunqu opera and Shaanxi opera, and absorbed some folk tunes and Beijing dialect, and gradually integrated and developed. Peking Opera music belongs to banqiang, accompanied by Hu Qin (Jinghu), gongs and drums, Beijing Erhu and Qin Yue. The main vocals of Beijing Opera are Huang Er and Xipi, so Beijing Opera is also called "Pihuang". Other commonly used vocals in Beijing Opera are Nanbangzi, Siping Tone, Gaobazi and Chui. There are about 1000 traditional operas in Beijing Opera, and about 300 or 400 are often performed. Among them, besides Anhui Opera, Han Opera, Kunqu Opera and Shaanxi Opera, quite a few of them were created by Beijing Opera artists and folk writers. Beijing opera is good at expressing political and military struggles with historical themes, and most of the stories are taken from historical romances and novel scripts. There are not only the whole drama, but also a large number of passbook dramas, in addition to some joint dramas. 2010 165438+1October16 Peking Opera was listed in the "Representative List of Intangible Cultural Heritage of Humanity".

technique of expression

Singing, reading, doing and playing are four artistic methods and four basic skills of Beijing opera performance. "Singing" refers to singing, and "reciting" refers to reciting with music. The two complement each other and form a "song", which is one of the two major elements of the performance art of Beijing Opera. "Doing" refers to the physical movements of dancing, while "beating" refers to the skills of martial arts and somersaults, which are combined with each other to form "dancing", which is one of the two major elements of the performing arts of singing, dancing and Peking Opera. Opera actors have been trained from these four aspects since childhood, although some actors are good at singing (singing old pedants), some are mainly engaged in work (Hua Dan) and some are mainly engaged in martial arts (Jason Wu). However, every actor is required to have four basic skills: singing, reading, doing and acting, in order to give full play to the function of opera art performance as a musical. Better performance and characterization of various roles in the play.

Beijing opera industry

The roles in Beijing Opera are divided into seven lines: health, Dan, Jing, Ugliness, Martial Arts and Fashion (walk-on), and then into four lines: health, Dan, Jing and Ugliness. Each line has a detailed division of labor. "Sheng" is a general term for male roles other than painted faces and clowns, and it is also divided into old students (bearded students), primary school students, martial arts students and baby students. "Dan" is a general term for female roles, which is divided into Zheng Dan, Hua Dan, Gui Mendan, Wu Dan, Lao Dan and Cai Dan (Dai Dan) Peking Opera blues. "Jing", commonly known as Hua Lian, mostly plays a male character with a certain special character, quality or appearance. The makeup mask has a loud tone and a rough style. "Net" is a singer, such as Bao Zheng; Erhualian, who mainly works, looks like Cao Cao. The "ugly" who plays the role of comedy is commonly known as the little face because he put a small piece of white powder on his nose.

Peking opera facial makeup design

Painting a certain color on a person's face symbolizes his personality and characteristics. The role and fate are a major feature of Beijing opera, which can help to understand the plot. Simply put, red face contains praise, representing loyalty and courage; Black face is neutral, representing fierce wisdom; Blue face and green face are also neutral, representing rebellious heroes; Yellow face and white face are derogatory, representing fierceness; Gold and silver surfaces are mysterious, representing gods and demons. Facebook originated from ancient religions and dance masks, and this tradition has been preserved in many local operas today.

Artistic feature

Beijing opera is thought-provoking and mellow. Through the long-term stage practice of countless artists, the stage art of Peking Opera has formed a set of standardized and standardized programs, which restrict and complement each other in literature, performance, music, singing, gongs and drums, makeup and facial makeup. As an artistic means to create a stage image, it is very rich and its usage is very strict. If you can't master these programs, you can't complete the creation of Peking Opera stage art. Just as Peking Opera entered the court at the beginning of its formation, its development and growth are different from local operas. It is required to show a wider range of life, create more types of characters, be more comprehensive and complete in skills, and have higher aesthetic requirements for its stage image. Of course, it also weakens its folk local flavor, and its simple and rude style is relatively weak. Therefore, its performing arts tend to combine reality with reality, which goes beyond the limitation of stage space and time to the maximum extent, thus achieving the artistic realm of "expressing the spirit with form and having both form and spirit". The performance requires exquisiteness and exquisiteness, and it is everywhere; It is required to sing melodiously and euphemistically, and the voice is full of emotion; Martial arts is not won by bravery, but by "singing martial arts". The first 50 years of the 20th century was the heyday of Chinese Peking Opera, during which the famous "Four Famous Dances" and "Four Bears" were produced. However, many famous Peking Opera artists also died during this period, and later generations can only appreciate their art by relying on a large number of old records left by them at that time. At that time, most of the famous actors had records handed down from generation to generation in record companies such as Gaoting, EMI, Beikai and Shengli, with a wide variety. However, with the passage of time and the progress of technology, these old records gradually disappear, and most of them are no longer available for examination, which brings great difficulties to future generations to appreciate and learn the art of their predecessors. Since the end of last century, some record companies in China have published some old records on tapes or other media, but they have not been systematically sorted out, and most of the copied contents are not available in the market. However, the development of network and digital technology has also brought hope to old record lovers, making it possible to comprehensively sort out old records.

The development of history

Beijing Opera Farewell My Concubine

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.

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 banned Wei Changsheng from performing in Beijing and expelled 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). "Huizhou Class Four" has its own repertoire and performance style, so it is 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 widely absorbed the essence of Shaanxi opera singing performance and transplanted a large number of scripts, which has created favorable conditions for the further development of Hui opera art. Hui-Han Han Opera is popular in Hubei, and Huang Er and Xipi in its voice cavity are all 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 drama master in China, went to Beijing, and at the beginning of Daoguang (182 1), Li Liu, a famous drama veteran in China,

Beijing opera imperial concubine drunk

Wang Honggui, Yu Sansheng, Xiao Shenglong Deyun and others went to Beijing to join the Huiban Chuntai and Chunban singing 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, beautiful singing and both civil and military skills, is famous for performing 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.

formative period

Tongguang shisanjue

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 vocal cavity is mainly Huang Er and Xipi; 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, such as creating the main melody of Beijing opera, Xipihe, and catching Cao in Beijing opera.

Peking Opera has made outstanding contributions in form, and also has Beijing language characteristics in spoken language and pronunciation. 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 Xilu, Rojov, Mei Qiaoling; Ugly Yang Mingyu, Liu Gansan; Hao Lantian and Tan Zhidao, Lao Dan; Jing Zhu, Ma Zi, Ren Hua face, etc. , all 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 road for Dan Jiao's singing art. The 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.

mature period

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 very loud and comfortable. Nianbai is not limited to Huguang sound and Zhongzhou rhyme, but mostly uses Beijing sound and Beijing characters, which sounds natural, realistic and 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. In the mature stage of Peking Opera, in addition to "Old Master Q's three outstanding figures", Xu Tang Yin and Jia Honglin were born. Wu Sheng: Jusheng Yu, Yang Longshou; Good lines: He Jiashan, Huang Runfu, Jin Xiushan, Qiu Guixian, Liu Yongchun and so on. Xiao Sheng: Wang, De Junru, Lu Huayun; Dan Xing:, Tian Guifeng,, Zhu; Winners: Wang Changlin, Zhang Hei, Luo Baisui, Xiao Changhua and 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.

Peak period

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. The representatives of this period are Yang Xiaolou, Mei Lanfang (the imperial concubine was drunk) and Yu Shuyan. Because the elegant cultural tradition advocated by literati was destroyed in the 20th century, Peking Opera reached its heyday.

Huizhou merchant class

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". So under the influence of Qingyang tune, Anhui tune-"Hui Kun" was sung, and then it developed into Er Quan 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.

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 can be described as phoenix 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 plays Dan, who is 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 refers to being famous for performing the whole drama continuously, Music refers to being good at singing Kunqu opera, Zi refers to winning by martial arts, and Zi refers to being 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, in charge of the class for more than 30 years. At the same time, he also served as the head of the "Jingzhong Hall" organized by the Shi Jing Opera Association. Through this organization, he managed the Peking Opera Troupe and the theater, and he also became the leader of the 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. "Four Huizhou classes performed in Beijing, which kicked off 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". The formation and spread of Peking Opera, formerly known as Huiban, 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 Qingganlong (1790), the first batch of Huizhou classes (Sanqing classes) headed by Gaolangting (a famous Yueguan) went to Beijing to participate in the celebration of Ganlong's 80th birthday. " "Yangzhou Painting Boat Record" contains: "Gaolangting 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 Qianlong entered the governor's bamboo box in fifty-five years, he called it the' Sanqing emblem', which was the originator of Huizhou class. "Wu Zishu pointed out more specifically in the Notes on Poems with Boundaries," 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 one after another. 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. During the years of Qianlong and Jiaqing, Beijing was rich in cultural relics, politically stable and economically prosperous, and all kinds of opera artists gathered. Kunqu Opera, Peking Opera and Shaanxi Opera are opposites on the Beijing stage. When Huiban came to Beijing, he first devoted himself to "the combination of Beijing and Qin". At that time, Shaanxi Opera and Peking Opera were basically performed on the same stage, and "Beijing and Qin are not divided" (Yangzhou Painting Boat Record). Huizhou Class carries forward the tradition of learning from others, extensively absorbs the repertoire and performance methods of Qin Opera (including some Beijing operas), and inherits many Kunqu Opera repertoires (performing Kunqu Opera Peach Blossom Fan side by side) and its stage art system, so it has been rapidly improved in art. The artistic characteristics of Huizhou Class itself are the main reason why it can win in the struggle for balance. In terms of vocal cavity, in addition to singing Huang Er tune, "even the voices of five parties are the same" ("Looking at Flowers in the Sun"); In terms of repertoire, there are a wide range of themes and forms; In terms of performance, it is simple and true, with complete business, which is suitable for the appreciation requirements of the broad audience. In terms of performance arrangement, according to the Chinese Dream, the four Huizhou classes are "good at winning battles". Sanqing won by "Axis" (recently receiving a new drama), Sixi won by "Quzi" (good at singing Kunqu opera), Hechun won by "Ba Zi" (good at playing martial arts drama), and Chuntai won by "Children" (calling Tong Ling). Attaching importance to art and management, we can give full play to our expertise and make rapid progress. By the late Daoguang period, Huiban had gained an advantage in Beijing. " "Chinese Dream" said: "Today, there are the most people in Anhui, and Wu people are not as good as them. There are no celebrities in Shu. " He also said: "The play in the theater must belong to Huizhou class. The largest theaters, such as Guangde Building, Guanghe Building, Sanqing Garden and Qingyuan Paradise, must also focus on Huizhou classes. "The process of Huiban's growth and development is also the process of its transformation into Peking Opera. The completion of this evolution is mainly marked by the confluence of Hui and Han, and the blending of Pi and Huang, forming a piano singing music system with Xipi and two accents, and gradually improving the singing, reading and playing system. Mi Yingxian (also known as Mi), a native of Chongyang, Hubei Province (referring to Anhui), was the first Chinese-style actor to accompany Huiban to Beijing. Born in forty-five years of Qianlong (1780), he joined Huizhou class in Chuntai and went to Beijing to sing around Jiaqing. He performed brilliantly, was good at red dramas and had a long reputation (see Li Dengqi's Chinese Dream and Frequent Talk). It is considered to be the pioneer of China's famous actor Yu Sansheng (at that time, there was a saying in the lyrics of Quyi that "rice should come first in the Asian Games"). During the reign of Daoguang (182 1- 1849), more and more Chinese opera actors came to Beijing to join the Huizhou class, including Wang Honggui and Li Liu. Su Haian's layman Yan Tai Zhao Hong Ji (written twelve years ago in Daoguang) said: "The capital is still Chu tune. Among the musicians, such as Wang Honggui and Li, they claim that the new Chu tune is Han tune and Han tune is Xipi tune. It can be seen that Xipi tune was popular in Beijing at that time, and Wang Honggui and Li Liu's "Goodness is a New Voice" promoted the innovative development of Xipi tune. With the joint efforts of actors returning to Han Dynasty, Xipi and Xihe gradually merged. Start different plays and sing Xipi or Huang Er respectively according to different sources; Later, some plays sang Xipi and Huanger at the same time, and even sang Huang Er first and then Xipi in the same aria, which can be coordinated and integrated. Luo Guan (from the emblem tune Nihe) is an example. In terms of phonology, the metrical form of "Zhongzhou Rhyme and Huguang Rhyme" is formed, and the words and sounds are mixed with Beijing and Hubei tones. At the same time, the four tones of Beijing and Hubei are used, and they are respectively pronounced and rhymed according to "thirteen strings". Huang Er's accompaniment instruments, after repeated times, finally abandoned the flute in Xianfeng and Tongzhi years (1851-kloc-0/874), and used the huqin (with different tunes) in unison with Xipi, but still accompanied by the flute according to the tradition of Huiban when singing and playing. At the end of Daoguang, Xipi Opera appeared in large numbers, and it was also common for Huiban and Pihuang to perform in parallel. According to the Du Men Lue published by Yang Jingting in the 25th year of Daoguang, Zhang Erkui from Sanqing Class, Sixi Class, Wang Honggui from Chuntai Class, etc., such as Wen Zhaoguan, Catch and Release Cao, Dingjun Mountain, Drumming Cao, Sweeping Snow and Playing Bowls, etc. It is basically the same as the traditional repertoire that is common on the Peking Opera stage later. Another view is that Peking Opera was formed after Tan Xinpei became famous (1late 9th century and early 20th century). The reason is that the Pihuang Opera at that time had strict rules from music, performance to singing. Prior to this, that is, in the era of Cheng Changgeng, it still belonged to the category of Huizhou tune. In the sixth year of Tongzhi (1867), Peking Opera spread to Shanghai. The newly-built Man Tingfang Theatre was invited to Beijing from Tianjin and was welcomed by the audience. In the same year, Tan Gui Tea Garden invited a large number of famous Peking Opera actors through Beijing Sanqing Class, including Xia (the father of Run), Xiong Jingui (the father of children) and Hua Dan Feng Sanxi (the father of Feng). They all settled in Shanghai and became a southern Peking Opera family centered on Shanghai. Later, more Beijing actors went south one after another, including Zhou Chunkui, Sun Juxian, Yang Yuelou, Sun Chunheng, Huang Yueshan, Li Chunlai, Liu Yongchun, and Bangzi Hua Dan Tian Jiyun, making Shanghai another Peking Opera center alongside Beijing. Prior to this, Shanghai had Kunban and Huiban performances in the early years of Xianfeng. After Beijing Opera entered Shanghai, there were also situations in which Beijing emblem, Beijing Kunming and Beijing Bangzi were on the same stage. This has played an important role in the formation of the characteristics of Southern Opera. Wang Hongshou (son), an outstanding Anhui opera actor, often participated in Peking Opera performances after arriving in Shanghai, and brought with him Anhui operas such as Xu Ce Entering the City, Sweeping the Book of Matsushita, and Snow Embracing the Blue Pass. Enter Beijing Opera, and incorporate the high beat, one of the main themes of Anhui Opera, into Beijing Opera music, and also absorb some red operas of Anhui Opera and their performance methods into Beijing Opera. This has played a certain role in expanding the repertoire of Peking Opera and enriching the stage art. In addition, the artistic activities of Bangzi artist Tian Jiyun in Shanghai have also affected the development of Nanpai Peking Opera. His "Lantern Opera" and "Bullfighting Palace" are really abusive in the later "Organ Collection". From the 5th year of Guangxu (1879), Tan Xinpei went to Shanghai for six times. Later, famous actors such as Mei Lanfang often performed in Shanghai, which promoted the exchange of Peking Opera between the North School and the South School and accelerated the development of Peking Opera art. Before Peking Opera entered Shanghai, that is, after the tenth year of Xianfeng (1860), it quickly spread to all parts of the country with business trips and theatrical performances. For example, Tianjin and its surrounding Hebei area are one of the earliest areas where Peking Opera spread. At the end of Daoguang, Yu Sansheng was active in Tianjin (he and his father were buried in Tianjin after their death); Liu Gansan, a clown actor, first made a box office in Tianjin, and then went to Beijing to "go to sea". Sun Juxian, an old actor, used to be a fan of Jin Yao. Shandong is the only place where Huizhou people pass in and out of Beijing, and Shandong businessmen are an important force in Beijing's economic activities, so Peking Opera performances have appeared in Shandong for a long time. As early as the Qianlong period, Anhui artists entered Qufu Confucius House to perform. Anhui, Hubei and Northeast provinces are also the areas where Peking Opera spread earlier. 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 War of Resistance against Japanese Aggression period, Peking Opera also developed greatly in Sichuan, Shaanxi, Guizhou and Guangxi. 19 19, Mei Lanfang led a troupe to perform in Japan, and Peking Opera first spread overseas. 1924 led a delegation to perform in Japan again, 1930 led a crew of 20 people to visit the United States, which was a great success. 1934 was invited to visit Europe and perform in the Soviet Union, which attracted the attention of European drama circles. Since then, Peking Opera has been regarded as a school of drama in China all over the world.

The formation of Peking Opera is about 150 years. In the fifty-fifth year of Qing Qianlong (1790), the well-known Huizhou class "Sanqing Class" in the south of the Yangtze River went to Beijing to celebrate the 80th birthday of Qing Qianlong. Huizhou Opera Troupe refers to a troupe that performs Huizhou tunes or Huizhou operas, which was very popular in the south in the early Qing Dynasty. Then, many Huizhou classes appeared one after another, the most famous of which were Sanqing, Sixi, Chuntai and Hechun, which were called "the four major classes in Huizhou". They have their own characteristics in performance, and Sanqing is good at performing the whole drama; Sixi is good at Kunqu opera; Children's Ling, mainly teenagers, in Chuntai; And the spring martial arts drama is outstanding. Huang Er, high-beat, blowing, and four-level tones are the major tones of Huizhou. Occasionally, there are Xipi tune, Kunqu tune and Yi tune. Actors in the Han Dynasty played Xipi and Huang Er. The two classes of Hui and Han cooperated and the two tunes merged. After a period of mutual integration and absorption, coupled with Beijing dialect, it constantly absorbed nutrition from Kunqu opera, Yi opera and Qin opera, and finally formed a new kind of drama-Beijing opera. The maturity and recognition of the first generation of Peking Opera actors is about 1840.

Peking Opera has had many names since its birth. There are: Luantan, Chundiao, Huang Jing, Jing Erhuang, Pi Huang (Pi Huang), Huang Er (Huang Er), Drama, Pingju, Old Opera, National Opera, Beijing Opera, Beijing Opera, etc.