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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. Chinese Peking Opera is the quintessence of China with a history of 200 years. The name of Peking Opera first appeared in Shenbao in the second year of Guangxu reign in Qing Dynasty (1876). Historically, it has been called Pihuang, Huang Er, Huang Qiang, Peking Opera, Pingju, National Opera and so on. In the fifty-fifth year of Qing Qianlong (1790), four Anhui Huizhou classes entered Beijing, where they became attached to Kunqu opera, Han opera and Yiyang. Its rich repertoire, the number of performing artists, the number of troupes, the number of audiences and the profound influence are the highest in the country. Peking Opera is a comprehensive performing art, that is to say, singing (singing), reciting (reciting), doing (acting), fighting (martial arts) and dancing (dancing) are integrated into one, and stories are told and characters are portrayed through programmed performance means to express the thoughts and feelings of "happiness, anger, sadness, joy, surprise, fear and sadness". Roles can be divided into four categories: raw (male), Dan (female), pure (male) and ugly (both male and female). Characters are divided into loyalty, ugliness, good and evil. Every image is vivid. The state attaches great importance to the protection of intangible cultural heritage. On May 20th, 2006, Peking Opera was approved by the State Council to be included in the first batch of national intangible cultural heritage list.

A brief history of development

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First, the incubation period

In the early Qing Dynasty, Kunqu Opera and Peking Opera (Yiyang 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, which 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. Anhui Opera and Kunqu Opera are staged at the same time, especially Kunqu Opera, so there is a class of "arranging a peach blossom fan in a new row and scattering four happy classes everywhere" 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 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 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 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, 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 form of figure painting in the opera "Thirteen Unique Peking Opera" painted by the painter He Shikui in the middle of Qing Dynasty, and selected thirteen famous actors on the Peking Opera stage during the Tongzhi and Guangxu periods of Qing Dynasty (l860- 1890) to describe their characters with meticulous brushwork, which shows that the author's skill is profound. 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' strong points and drew lessons from Kunqu Opera, Bangzi, Drum Opera and Tsing Yi and Hualien in Beijing Opera, thus forming a unique singing artistic style. Since 2007, a large number of outstanding actors have emerged in Beijing Opera, showing a prosperous situation of various factions, which has developed from a mature stage to its heyday. Because the elegant cultural tradition advocated by literati was destroyed in the 20th century, Peking Opera reached its heyday.

1927 Beijing Shuntian Cunbao held a Beijing Opera actress selection. The results of readers' voting: Mei Lanfang won the "Four Famous Corners" for her role in The Legend of Tai Zhen, 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.