In the Han Dynasty, there appeared a "corner play" with performance elements, especially "East Sea Huang Gong". In the Northern and Southern Dynasties, a kind of "Song and Dance Drama" combining singing and dancing with performance appeared among the people, with more intense performance elements, such as the leader, the face generation, and the pick of the mother. In the Tang Dynasty, there appeared a "joining the army drama" characterized by funny performances, which developed from the actors' performances in the pre-Qin period. Folk song and dance dramas entered the court and got greater development; Popular rap forms such as "popular theory" and "variation" have appeared among the people. In Song Dynasty, the urban commodity economy developed by leaps and bounds, and many public entertainment places appeared-"Washe" and "Goulan". Folk songs and dances, rap and burlesque have a comprehensive trend, and "Song Zaju" has appeared. In Jin Dynasty, on the basis of Song Zaju, "Jin Benyuan" appeared in the north and "Southern Opera" appeared in the south. In the Yuan Dynasty, "Northern Zaju" was formed in the north, and the southern opera was further developed and matured, forming a traditional opera.
2. The earliest mature form of China Opera-Southern Opera in Song and Yuan Dynasties.
Southern Opera is the earliest form of opera in China, which was formed in Wenzhou, Zhejiang (formerly known as Yongjia) at the turn of the Northern and Southern Song Dynasties. It was formed on the basis of the drama of the Song Dynasty, combined with artistic factors such as southern folk ditty and rap. Its characteristics are huge system and concise lyrics, which have the basic artistic characteristics of China traditional opera. Drama mostly shows folk stories.
3. The first prosperous period of China opera-Yuan Zaju.
Yuan Dynasty is an important period in the history of China opera. It is famous for Yuan Opera, among which the most influential is Northern Zaju (also known as Yuan Zaju). The literature of northern zaju is superior to simple nature, and the drama literature of later generations is second to none; Guan (), Wang (poetry), Bai (Pu), Ma (Zhiyuan) and other zaju writers have made a generation of northern zaju literature. The performance of the northern zaju shows the simplicity and rich folk flavor of the opera at the beginning of its formation.
4. The second prosperous period of China opera-Ming and Qing legends.
Legend originated from the Southern Opera in the Song and Yuan Dynasties, which is the result of the maturity and standardization of the Southern Opera. After the middle of the Ming Dynasty, legends replaced zaju as the leading role in the drama stage. Its scripts and literary songs are elegant in the dictionary, with a huge system, numerous masterpieces and more and more mature performances, mostly sung by Kunqu Opera.
5. The four major tunes of Ming Dynasty
The so-called four major tunes of Ming Dynasty are the collective names of Zhejiang Haiyan tune, Zhejiang Yuyao tune, Jiangxi Yiyang tune and Jiangsu Kunshan tune in the Southern Song Dynasty system of China in Ming Dynasty. There was an obvious localization trend in the music of Ming Dynasty, mainly manifested in the rise of local tunes. The latter two have the greatest influence on later operas, namely Yiyang Opera and Kunshan Opera. The former has developed into a high-pitched opera system with extensive influence in China. The latter developed into an elegant and exquisite Kunqu opera.
6. The transformation period of China opera-the rise of local operas in Qing Dynasty.
Since the early Qing Dynasty, great changes have taken place in the stage of traditional Chinese opera, which is mainly manifested in the folk and popularization of traditional Chinese opera. First, Kunqu opera and Gao Qiang prevailed, and then the rise of local operas. Since then, the stage of national drama is no longer the world of legendary drama, and Kunqu Opera and Gaoqiang have competitors from the people. The performance place of China traditional opera has also changed from a hall pavilion to a teahouse platform.
7. Huiban went to Beijing.
In the fifty-fifth year of Qianlong, that is, AD 1790, in order to celebrate Qianlong's eightieth birthday, Sanqing class went to Beijing to perform, which brought a kind of local emblem that was different from Kunqu opera, giving Beijing audiences a refreshing feeling. Later, four troupes, Xi, seven show, Ni Cui, He Lip and Chuntai, went to Beijing one after another. Huizhou tune won the welcome of Beijing audience for its popularity and simplicity, and has since taken root in Beijing.
8. The formation of Peking Opera is an important event in the history of China opera.
After Huiban went to Beijing, Hubei Han Diao artists also went to Beijing to perform with Huiban artists during the Daoguang period (around 1828). They sang Pi Huangqiang as Huizhou artists, but with more Hubei style. Hui and Han nationalities coexist in Beijing. After decades of development, Pi Huangqiang Peking Opera with unique northern characteristics was finally formed around 1840.
9. The first heyday of Peking Opera-Tongzhi and Guangxu years.
Shortly after the formation of Beijing Opera, it ushered in its first prosperous period, which was during the Tongzhi and Guangxu years of the Qing Dynasty. At that time, a group of outstanding Peking Opera actors appeared, which attracted the love of court officials at this time. The rich material conditions in the palace promoted its artistic maturity. The History of China's Drama Development (Ⅱ)
10, the second peak of Peking Opera-from 1920s to 1940s.
The new ideological trend at the beginning of the 20th century greatly promoted the development of Peking Opera, which ushered in a second period of prosperity. The prosperity of Peking Opera in this period is mainly manifested in the emergence of outstanding Peking Opera actors. In addition, this period is also the period with the most schools of Peking Opera, with Mei (), Shang (), Cheng () and Xun. Yu School, Ma School and Qi School; Jin (Shaoshan) school, Hao (birthday) school, (post) school, Xiao (Changhua) school, etc. The founders of each genre have a considerable number of plays, so this period is also a prosperous period of Peking Opera literature. This period lasted until the late 1940s.