Since 1951, relevant departments have organized forces to collect and sort out their music tunes and published monographs. In 1954, Qinghai National Song and Dance Troupe tried out its tunes to rehearse Qiu Jiang, Loutaihui and other small plays. In the first half of 1958, the Qin Opera Troupe in Huangzhong County, Qinghai Province, also tried to put Pingxian on the stage, and a large-scale traditional play "Zhao's Orphan" was rehearsed by Shaanxi opera actors, which was staged in Huangzhong, Xining and Lanzhou.

In the second half of the same year, the relevant departments of Qinghai Province made a decision to "put the Pingxian Quyi on the stage and develop it into a local drama", and set up a Pingxian class in Xining Drama School. Since October of the same year, more than 4 students have been recruited, and nearly 2 Pingxian artists, drama body training and rehearsal teachers and new literary and art workers have been transferred, and they have invested in the experimental research work of putting the Pingxian Quyi on the stage.

In p>1959, the first Pingxian rehearsal by the students of Pingxian Class of Xining Theatre School, the passbook plays Hundred Days' Edge, Qiu Jiang's Edge in the Cabinet, was put on the stage, and met with a large audience in Xining, which was warmly welcomed and praised by all walks of life and the masses.

Qinghai Daily and Xining Daily successively published many articles and stills, such as "Flowers in Special Release", "New Flowers Bloom and Qinghai Pingxian Comes to the Stage", and enthusiastically praised the formal birth of Qinghai Pingxian Opera, a local drama in Qinghai. On the National Day of the same year, Pingxian Opera was performed again.

The main features of Qinghai Pingxian Opera are its euphemistic singing and the localization of chanting. It is mainly based on Xining mandarin, but the rhyme of life and Dan absorbs the reading methods of Beijing opera and Shaanxi opera. In performing arts, it is greatly influenced by Peking Opera and Shaanxi Opera. Business can be divided into raw, bold, clean and ugly, but the vocal cavity can not be completely separated, only from the high pitch of men and women.

Qinghai Pingxian Opera was formerly known as Quyi Pingxian Sitting Singing. Pingxian Zuoyin, also known as "Xining Fuzi", is named because Fuzi tune is its main melody and it is mainly popular in Xining area. Qinghai Pingxian Opera is also popular in Huangzhong, Datong, Huangyuan and other Huangshui River basin areas in eastern Qinghai, and its music structure belongs to Qupai couplet.

Qinghai Pingxian Opera is a kind of couplet genre that only sings but doesn't talk. Its tunes are rich, and it is known as "eighteen mixed tunes and twenty-four rhymes". Qinghai Pingxian Opera not only maintains the characteristics of couplet genre of folk art, but also attracts the advantages of other board-cavity operas, forming a comprehensive musical style, including Hua Yin's singing, Hua Yin's back bow, new flat tune, allegro, inversion and so on.

In addition, more than 3 kinds of suona qupai, such as Da Pai Team, Da Kaimen, your legend, Sheng Shengling, Yan Luosha Beach, Qi Yan Hui, Gu Liuhua and Ending, and more than 1 kinds of string qupai, such as Dahongpao, Shamao Wing, Spinach Root and Xiao Kaimen, have been absorbed from other operas and Qinghai folk suona qupai.

Its musical vocals can be divided into five categories: Fu Zi Qiang, Bei Gong Diao, Miscellaneous Qiang, Xiao Dian and Xia Bei Gong, and it has a complete structure of tight single-melody repetition and multi-melody combination. The melody is euphemistic, beautiful, gentle and elegant, and the lyrics are neat, rigorous and elegant, which is the spring snow in Qinghai local folk art and also a kind of music with great influence.

According to the differences between the theme of Pingxian and the mood expressed by tunes, the actors divide the paragraphs of Pingxian into four categories: Fu Zi, Bei Gong, Miscellaneous Tune and Small Tune. The composition of each paragraph is equipped with a lyric called "Qiancha" at the beginning and a lyric called Houcha at the end. Therefore, a complete flat-string paragraph is composed of front fork and fu zi or back work, or miscellaneous cavity, or small point, plus back fork.

The traditional repertoire of Pingxian is mostly 7-sentence and 1-sentence rhymes, with a wide range of contents, mostly based on zaju and folklore, stories and historical romances in the Yuan and Ming Dynasties.

Qinghai Pingxian accompaniment instruments include Pipa, Sanxian, Sine Banhu, Anti-chord Banhu, Yueqin, dulcimer, Qu Di, Yueer and so on. After the founding of New China, erhu and cello were added, sometimes accompanied by only three strings.

Pingxian in Qinghai originally had no percussion music. After it was put on the stage, it tried Qin opera gongs and drums, and then switched to Beijing opera gongs and drums. With reference to percussion music such as Qinghai Dengying Opera, it created a set of percussion instruments that were more harmonious with Pingxian music in tone and tone, and created the bantou and some drums of various percussion music as needed.

The Pingxian class also rehearsed and performed traditional dramas such as Marriage, Road Beating, Kite Flying Mistake, Mother Recognition in the Ancestral Hall, Dream in the Garden, etc. Modern operas include Young Couples Quarrel, Little Red Hearts, Picking up Ears of Wheat, Carpenter's Wedding Reception and so on.

The teachers and students in Pingxian class basically keep the form of music tunes, but in structure, they gradually change to choose the appropriate tunes and music tunes for design and combination from the needs of plot development and characters' feelings. This paper studies and innovates two kinds of musical vocals with different moods and tonality, namely, Bitter Tone and Hua Yin, which were originally existed in Pingxian Quyi, enriching and developing Hua Yin's vocals of Pingxian Opera and enhancing its expressive force.

In the aspect of chanting, due to the influence of the national language standardization at that time, Mandarin was used at first, but it was soon found that it was not in harmony with the performance style, so Xining Mandarin was used instead.

On the basis of the original Pingxian Opera Class in Xining, Qinghai Pingxian Experimental Troupe was established. There are nearly 2 modern plays created, adapted and transplanted by the troupe, such as Angry Waves of Blood, Little Sisters of Prairie Heroes, Wind and Thunder in Mountain Villages, Half-Pocket Potato, One Hundred Jin of Oats, Red Flower on the Counter, Xiangyangchuan, After Harvest, and Beside the Jinsha River.

Modern operas and traditional operas include Brother Ma Wu and his wife, The Jade Hairpin, Xiangluopa, Fan Jiangguan, Wang Zhaojun, Broken Bridge, Swallow Cat for Prince, Catching Flower Sedan, Water Bucket and Stealing Grass.

in the rehearsal of civet cats for princes, Qinghai Pingxian Experimental Troupe boldly broke through the combination structure of Qupai in music singing, borrowed, created and developed the plate-type and string-type head, percussion, line string, etc. such as guide plate, allegro and scattered board, while retaining the essence of all kinds of tunes in the original Pingxian Opera, which made the combination structure of Qupai in Pingxian Opera change from the combination of Qupai to the plate-type change.

In addition, the drama also absorbed some vocals and qupai from Meihu and Xianxiao in Qinghai, and used them in a mixed way, and absorbed the suona brand from Qinghai folk, which enriched itself, enriched the expressive force, and increased the difficult requirements in chanting, performing and physical training.

In the 197s, Qinghai Pingxian Experimental Troupe transplanted and rehearsed three plays, The History of the Revolutionaries, Asking for Suffering in the Deep Mountains and ocean deep, which were well received.

At the request of the masses, Xining Pingxian Troupe was formally established, and Pingxian modern dramas such as March 3rd, Village Veterinary, and Bitterness with Gan * * * were rehearsed one after another, and performed in Xining, Huangzhong, Minhe, Ledu and other places. Later, the troupe was changed to Xining local art troupe, and then to Xining Opera Troupe.

After the reform and opening-up, the Pingxian Experimental Troupe in Qinghai Province has been restored, which indicates that the Pingxian Opera in Qinghai, the only emerging local opera in the Han nationality area in Qinghai, has been reborn.

In the 198s, the Pingxian Experimental Troupe of Qinghai Province staged a large-scale traditional drama Lapras, which was warmly welcomed by the literary and art circles and the audience.

Qinghai Pingxian Opera is a symbol of local culture. Its essence lies not only in paying attention to singing, reading, doing and playing, but also in the accompaniment of unique national music. Accompanied by modern symphony, Qinghai Pingxian Opera uses novelty to reawaken people's curiosity about Qinghai Pingxian Opera.

After several generations of hard work and practice by literary and art workers, the play has finally achieved a historic turning point, making it gradually perfect and mature.