The period from 1860 to 19 17 is the period of further maturity of Peking Opera. In terms of repertoires, the traditional repertoires passed down from Hui, Han, Bang and Kun have been refined through continuous processing and tempering in performance practice. Many first plays have been gradually cut and simplified into their own dramas. For example, the whole version of Cosmic Frontline usually shows the Revised Edition and the Golden Temple only 20% of the time. Before and after the Revolution of 1911, a number of new dramas appeared in the social and political changes, such as Wang Xiaonong's Crying at the Ancestral Temple and Melody in the Blue. In music, plates and melodies are added, and the pronunciation and rhyme are more stereotyped, which makes the singing of Beijing opera euphemistic and beautiful and more distinctive. In the stage performance art, it is also more delicate, exquisite and colorful. Three outstanding artists in the history of Peking Opera (Cheng Changgeng181-1880, Huizhou School; Yu Sansheng 1802- 1866, Han School; Zhang Erkui 18 13- 1860, Beijing school) also has the emblem of the predecessor of Beijing opera and the local color of the Han dynasty, which was passed on to three outstanding artists after the older generation (Tan Xinpei 1847- 1965438, Sun Juxian/kloc-).
From the 9th year of Guangxu (1883), a large number of famous Peking Opera artists were recruited as "imperial tributes" one after another, and received a certain amount of silver rice to perform in the theater at ordinary times, and were called into the palace as messengers from time to time, thus breaking the old system that the court kept the troupe since Qianlong. Because of the royal family's love, it not only provided superior material conditions for the performance, but also had strict artistic requirements, so it left a number of relatively complete repertoires, which laid the foundation for the strict standardization of Beijing opera art, and at the same time, the court performance also brought some negative effects to Beijing opera in the tendency of repertoire content.
During this period, some Peking Opera artists directly participated in the political struggle. For example, in the coup d' é tat of 1898, the famous Dan Yu Qin Yu and Tian Jiyun tended to reform and reform, and sent messages to Emperor Guangxu. In Shanghai, the Revolution of 1911 hit the Manufacturing Bureau, and Pan Herun directly participated in the war and was awarded by Sun Yat-sen. ..
In the 24th year of Guangxu (1908), the first modern drama stage appeared in Shanghai. Out of patriotic enthusiasm, Brother Xia Yuerun built a theater with lighting and scenery facilities on the ground outside the concession at that time, which changed the traditional square stage, thus promoting the innovation of Peking Opera stage art and influencing other places.
From 19 17 to 1937, Peking Opera reached its peak. In terms of repertoire, traditional operas have been continuously processed and renovated, and a large number of new dramas have emerged. The scope of subject matter has been expanded, and the number of plays expressing patriotism and democratic ideas has increased. The repertoire is more closely combined with the performance characteristics of the actors, and there are some unique repertoires of art schools. In terms of stage art, genre art has made great progress. Previously, the stage of Beijing opera was dominated by old pedants, and the genre of old pedants was more obvious. At this time, Mei Lanfang, Cheng, Xun Huisheng and Shang Xiaoyun are determined to innovate and actively rehearse new plays. Mei Lanfang absorbed China's traditional classical dance art into Peking Opera in the newly edited "costume dramas" such as A Moth to the Fire, Farewell My Concubine and History of Xi, enriched singing tunes and accompaniment instruments, and made many innovations in costumes and makeup. Cheng, Xun Huisheng and Shang Xiaoyun. He also developed his creativity and edited new dramas that can reflect his artistic characteristics, such as Cheng's Dream of Spring, Xun Huisheng's Hairpin Phoenix and Shang Xiaoyun's Princess Hamming. There has been a situation in which the "four great talents" compete for balance on the stage. This not only makes Dan Jiao's art glow with unprecedented brilliance, but also drives other industries to compete with each other. Such as, Ma,,, Yan, etc. all developed their own schools on the basis of inheriting the tradition. In Shanghai, Zhou (Kirin Tong)' s new dramas are unique, such as Xiao He Chasing the Moon under Han Xin, which has a wide influence all over the south of the Yangtze River and is known as the "Qiqi School". Wu's, Shang's and Southern's also formed schools with distinctive artistic characteristics. Besides, there are many talented people, such as Hua Lian, Xiao Sheng, Lao Dan and Ugly, and the stage of Peking Opera has reached the peak of art..
Since the 1920s, a large number of Liantai dramas have appeared on the stage of Shanghai Peking Opera. This dramatic structure, with vivid plot, beginning and end, and easy to understand, was deeply loved by the audience, gradually became popular in major cities in the south of the Yangtze River, and later spread to Beijing. Some of these clips have also become independent solo performances. But later, some Luen Thai dramas went astray in the commercialization of capitalism. Sometimes the theme of the first play is very clear, but if you continue, the more books you have, the farther you will go.
During the same period, a large number of female artists appeared on the stage of Beijing Opera, and some of them had high artistic achievements. Since the formation of Peking Opera in Daoxian period, all Peking Opera actors, regardless of health, beauty and ugliness, have been played by male actors. About the Tongzhi period (1862- 1874), Shanghai began to have a troupe composed of young girls, called "children's play". After the Revolution of 1911, the female class also appeared in Beijing and Tianjin. Some actresses are quite famous, but due to social conditions, most of them are short-lived. Since the1920s, many outstanding actresses have come to the fore and are quite mature in art, so they can choose their own courses. 1930 male and female co-production in Beijing Guangde Building (earlier in Shanghai). These outstanding actresses, in addition to the earlier veterans En Xiaofeng, Xiao, Dan, Liu Keqin, etc. , experienced veterans, Xiaodong Meng, Dan, Yan Qin, Xin, etc. Since the 1920s.
During this period, more attention was paid to personnel training and new measures were taken. From Xiaorongchunke, which was founded in the 6th year of Guangxu (1880), to Fulian City, which was founded in the 30th year of Guangxu, all the teaching methods were hard work before skills. 19 19 Nantong Gongling Society was established in South China (with Ou Yangyuqian as the director), 1930 China Theatre Academy was established in Beijing (with Jiao Juyin as the principal), 1934 Shandong Theatre was established, 1938 Shanghai Theatre School was established, and Xi 'an was established in the same year. Although this educational system and teaching method are still in the exploratory stage, it has achieved certain results in improving the artistic quality of a new generation of actors.