The emergence and development of Peking Opera

Production:

Anhui Opera is the predecessor of Peking Opera. Starting from the 55th year of Emperor Qianlong's reign in the Qing Dynasty, the four major Anhui troupes - Sanqing, Sixi, Chuntai, and Hechun - that originally performed in the south began to enter Beijing one after another. They cooperated with Han opera artists from Hubei, and at the same time accepted the Kun Opera Some of the repertoire, tunes and performance methods of Qin Opera absorbed some local folk tunes, and through continuous exchange and integration, Peking Opera was finally formed.

Development: After the formation of Peking Opera, it began to develop rapidly in the court of the Qing Dynasty until the Republic of China achieved unprecedented prosperity.

The mature period of Peking Opera: from 1883 to 1918, Peking Opera entered the mature stage from its formation period. The representative figures were Tan Xinpei, Wang Guifen and Sun Juxian, who were known as the "Three Masters of Old Students" at that time. Among them, Tan Xin inherited the artistic strengths of Cheng Changgeng, Yu Sansheng, and Zhang Erkui, and through creative development, he pushed the art of Peking Opera to a new level of maturity.

The heyday of Peking Opera: Since 1917, a large number of outstanding Peking Opera actors have emerged, showing a prosperous situation of diverse genres, developing from a mature period to a heyday. The representative figures of this period are Yang Xiaolou, Mei Lanfang, Yu Shuyan. Extended information

The artistic characteristics of Peking Opera:

1. Peking Opera expresses a wider range of life, creates more types of characters, and has strict requirements for the comprehensiveness and integrity of skills. The aesthetic requirements for creating a stage image are high.

2. Performing arts tend to use a combination of virtual and real expression techniques, transcending the limitations of stage space and time to the greatest extent, in order to achieve the artistic realm of "conveying the spirit with form and having both form and spirit".

3. The performance is required to be exquisite and delicate, and every aspect is in the play; the singing is required to be melodious, euphemistic, and full of emotion; martial arts does not rely on fiery and bravery to win, but "martial arts, literary singing" is best.

Baidu Encyclopedia-Peking Opera