What is Peking opera and what are its core components?

Peking opera, also known as Beijing opera, is the most dominant form of Chinese opera. It is a comprehensive art form that intricately combines instrumental music, vocal performance, mime, martial arts, dance, and acrobatics. This synthesis of various performance elements creates a unique theatrical experience.

When and where did Peking opera originate and develop?

Peking opera emerged in Beijing during the mid-Qing dynasty (1644–1912). It became fully developed and recognized by the mid-19th century, evolving from earlier forms of Chinese opera. Its popularity grew significantly within the Qing court.

What is the significance of Peking opera in Chinese culture?

Peking opera is regarded as one of the cultural treasures of China. Its enduring popularity and development over centuries have cemented its status as a vital part of the nation's artistic heritage.

Where are the major performance troupes for Peking opera based?

The primary performance troupes for Peking opera are based in three major cities: Beijing, Tianjin, and Shanghai. These centers are crucial for the preservation and continuation of the art form.

How is Peking opera known in Taiwan, and what does this name signify?

In Taiwan, Peking opera is also known as Guoju, which translates to 'National opera.' This designation reflects historical and political disputes over the true representation of Chinese culture and government.

What are the four main role types in Peking opera?

Peking opera features four primary role types: Sheng (gentlemen), Dan (women), Jing (rough men), and Chou (clowns). Each category encompasses various subtypes and requires specific performance skills.

What is the characteristic stage setting in Peking opera, and what is the focus of attention?

Peking opera stages are characteristically sparse, with performers being the sole focal points. The elaborate and colorful costumes worn by the performers are designed to capture the audience's attention against this minimalist backdrop.

What skills do Peking opera performers utilize, and how is their performance evaluated?

Performers utilize speech, song, dance, and combat skills, employing movements that are symbolic and suggestive rather than strictly realistic. The beauty of their movements is a primary criterion for evaluating their skill.

How is the music of Peking opera categorized?

The music of Peking opera is divided into two main styles: Xipi and Erhuang. These styles encompass melodies, arias, fixed-tune melodies, and percussion patterns that accompany the performances.

What is the typical repertoire of Peking opera, and what themes do the plays cover?

The repertoire of Peking opera includes over 1,400 works, drawing heavily from Chinese history, folklore, and, increasingly, contemporary life. These stories provide a rich narrative tapestry for the performances.

How was Peking opera affected during the Cultural Revolution?

During the Cultural Revolution (1966–1976), traditional Peking opera was denounced as 'feudalistic' and 'bourgeois.' It was largely replaced by 'revolutionary operas' that aligned with Communist ideology until the end of that period.

What reforms has Peking opera undergone in recent years to address declining audience numbers?

In response to sagging audience numbers, Peking opera has undergone reforms such as improving performance quality, incorporating new performance elements, shortening works, and staging new plays. These efforts aim to make the art form more accessible and engaging for modern audiences.

What does the term 'Peking opera' mean in English, and when did it enter the Oxford English Dictionary?

The term 'Peking opera' is the English name for the art form, and it was first recorded in the Oxford English Dictionary in 1953. 'Beijing opera' is a more recent equivalent used to refer to the same art form.

What were some of the historical Chinese names for Peking opera, and what did they signify?

Historically, Peking opera was known by names like Pihuang (referring to its core melodies), Jingju or Jingxi (meaning 'capital drama,' reflecting its origin in Beijing), and Pingxi or Pingju (used when Beijing was called Beiping). These names often indicated its place of origin or musical characteristics.

How did Peking opera evolve from earlier Chinese opera forms?

Peking opera evolved from a combination of older forms, notably Hui opera (Huiju) and Hubei troupes, which merged their melodies in Beijing around 1828. It also drew influences from Qinqiang and Kunqu, retaining staging and aesthetic principles from Kunqu.

What was the role of Empress Dowager Cixi in the history of Peking opera?

Empress Dowager Cixi became a significant patron of Peking opera starting in 1884. Her support helped to solidify its status and elevate it above earlier theatrical forms like Kunqu, contributing to its prominence in the Qing court.

What were the historical restrictions on female performers in Peking opera, and when were they lifted?

Historically, female performers were banned in Peking opera, with bans issued by emperors like Kangxi and Qianlong. The ban was finally lifted in 1912 after the founding of the Republic of China, though male performers continued to play Dan roles for some time.

How did the Chinese Communist Party's ideology influence Peking opera after 1949?

After 1949, the Chinese Communist Party sought to align art with its ideology, deeming works without Communist themes subversive. During the Cultural Revolution, Peking opera was largely replaced by 'revolutionary operas' designed to serve the interests of workers, peasants, and soldiers.

What is the 'model opera' concept in relation to Peking opera?

During the Cultural Revolution, five Peking operas were among the eight 'model plays' created to express Mao Zedong's ideology. These operas, like 'The Legend of the Red Lantern,' were promoted as achievements of the era.

What challenges has modern Peking opera faced in the latter half of the 20th century?

Modern Peking opera has faced challenges including a decline in performance quality, the difficulty of capturing modern life with traditional forms, the need for electronic subtitles due to archaic language, and the impatience of younger generations with its pacing, influenced by Western culture.

How has the creative attribution of Peking opera shifted in recent decades?

Traditionally, performers played a significant role in scripting and staging Peking opera. However, in recent decades, there has been a shift towards a more director and playwright-centered model, influenced by Western theatrical practices.

Who was Mei Lanfang and what was his contribution to Peking opera's international recognition?

Mei Lanfang was one of the most famous Dan (female role) performers in Peking opera. He was instrumental in popularizing the art form abroad, undertaking tours in Japan, the United States, and the Soviet Union during the 1920s and 1930s.

What are the subtypes of the Sheng role in Peking opera?

The Sheng role, representing gentlemen, has several subtypes: the 'laosheng' for dignified older characters, the 'hongsheng' (a red-faced older male), the 'xiaosheng' for young male characters who sing in a high voice, and the 'wusheng' for martial characters skilled in acrobatics and combat.

What are the subtypes of the Dan role in Peking opera, and who pioneered a sixth type?

The Dan role encompasses female characters, traditionally divided into 'laodan' (old women), 'wudan' (martial women), 'daomadan' (young female warriors), 'qingyi' (virtuous women), and 'huadan' (vivacious women). Mei Lanfang pioneered a sixth type, the 'huashan,' which combined the status of 'qingyi' with the sensuality of 'huadan'.

What defines the Jing role in Peking opera, and what do the facial colors symbolize?

The Jing role is characterized by painted faces, representing forceful characters. The colors used in facial patterns carry symbolic meanings: red denotes uprightness and loyalty, white represents evil or crafty characters, and black signifies soundness and integrity.

What is the role of the Chou in Peking opera, and what is distinctive about their face paint?

The Chou is the male clown role, typically playing secondary characters and often associated with humor and foolishness. Their distinctive face paint is called 'xiaohualian,' characterized by a small patch of white chalk around the nose, symbolizing either a mean nature or quick wit.

What are the four main skills performed by Peking opera actors?

Peking opera performers utilize four primary skills: song, speech, dance-acting (which includes pure dance, pantomime, and other dance forms), and combat (encompassing acrobatics and weapon fighting). These skills are expected to be performed with an appearance of effortlessness.

What are the aesthetic aims and principles of movement in Peking opera?

Peking opera emphasizes meaning over accuracy, striving for beauty in every motion. Movements are stylized, avoiding sharp angles and favoring roundness, to represent intangible emotions and characters suggestively rather than imitatively.

How are props used in Peking opera, and what do they symbolize?

Peking opera uses very few props due to its symbolic nature. Objects like a whip can represent a horse, and an oar can symbolize a boat, with peripheral items often indicating larger, main objects. This tradition reflects centuries of Chinese performance practices.

What is the significance of costumes in Peking opera?

Costumes in Peking opera are crucial for distinguishing the rank and character of performers. They feature specific colors and designs, such as yellow robes for royalty and elaborate embroidery, to convey social status and character traits.

What are the two main musical styles in Peking opera, and what are their origins?

The two main musical styles are Xipi and Erhuang. Xipi, possibly derived from Qinqiang, is often used for joyous stories and features disjointed melodies. Erhuang, originating from folk tunes of Hubei, is typically used for lyrical stories and is characterized by lower, softer melodies.

What are the three categories of melodies used in Peking opera accompaniment?

The musical accompaniment in Peking opera primarily consists of three categories: arias, which are sung solos; fixed-tune melodies (qupai), instrumental tunes that signal events or characters; and percussion patterns, which provide context and identify characters during entrances.

How is vocal production managed in Peking opera, particularly concerning breath control?

Vocal production in Peking opera emphasizes breath control, visualized as being drawn up through a central cavity from the pubic region to the head. Performers use techniques like 'exchanging breath' and 'stealing breath' to manage air intake and 'save the breath' for sustained vocalizations.

What are the different types of stage speech found in Peking opera?

Peking opera uses three main types of stage speech: prose dialogue for advancing the plot or adding humor, quotations from classical Chinese poetry to heighten dramatic impact, and conventionalized stage speeches like entrance and exit speeches that follow established patterns.

What are the structural elements of song lyrics in Peking opera?

Song lyrics in Peking opera are written in couplets, typically consisting of ten or seven characters per line. These lines are subdivided into pauses ('dou'), and rhyme is a critical element, with lyrics also utilizing Mandarin speech tones in a pleasing manner.

How are the musical styles Xipi and Erhuang differentiated in terms of tuning and tempo?

In the Xipi style, the jinghu strings are tuned to A and D, and it uses tempos like 'erliu' and 'kuaiban.' In Erhuang, the strings are tuned to C and G, and it commonly uses tempos such as 'manban,' 'yuanban,' and 'kuaiban.' The tempo is controlled by a percussion player.

What is the typical instrumentation for Peking opera accompaniment?

The accompaniment for Peking opera usually features a small ensemble of traditional instruments. The lead melodic instrument is the jinghu, a two-string fiddle, supported by the yueqin (a plucked lute) and various percussion instruments like the daluo, xiaoluo, and naobo. The gu and ban player often acts as the conductor.

How are Peking opera plays classified traditionally?

Traditionally, Peking opera plays are classified into two main types: civil plays, which focus on character relationships and emotional expression through singing, and martial plays, which emphasize action and combat skills. They are also categorized as 'daxi' (serious) or 'xiaoxi' (light).

What are the post-1949 classifications for Peking opera repertoire?

Since 1949, Peking opera plays have been classified by thematic content and historical period into 'chuantongxi' (traditional plays performed before 1949), 'xinbian de lishixi' (historical plays written after 1949), and 'xiandaixi' (contemporary plays that may incorporate Western influences).

How has Peking opera adapted Western works, such as those by Shakespeare?

Peking opera has increasingly adapted Western works, particularly Shakespearean plays, into its own style. Examples include versions of 'A Midsummer Night's Dream' and 'King Lear,' demonstrating a cross-cultural exchange in theatrical traditions.

What role has Peking opera played in Chinese films?

Peking opera and its stylistic elements have been frequently used in Chinese films to signify 'Chineseness' and create a distinct cultural identity. Directors like Fei Mu and King Hu incorporated its formal norms, such as the parallelism between music, voice, and gesture.

What is the training process for becoming a Peking opera performer?

Becoming a Peking opera performer involves a rigorous apprenticeship, traditionally lasting seven years, starting at a young age. Training includes intense physical exercise, learning acting and combat skills, and often involves strict discipline, with students being beaten for mistakes.

What are some of the famous schools or styles associated with Peking opera performers?

Several famous schools or styles are taught to Peking opera performers, named after renowned artists. Examples include the Mei Lanfang school, the Cheng Yanqiu school, the Ma Lianliang school, and the Qi Lintong school, each preserving unique performance traditions.

How does Peking opera's staging differ from Western theatrical traditions?

Peking opera stages are typically square platforms visible from three sides, with musicians often present on stage. The use of minimal props and symbolic conventions, like a whip representing a horse, contrasts with the more realistic staging common in Western drama.

What is the significance of the 'north' direction on a Peking opera stage?

On a Peking opera stage, the 'north' direction is considered the most important. Performers will immediately move to 'center north' upon entering the stage, reflecting a symbolic orientation within the performance space.

How do Peking opera costumes indicate a character's rank?

Costumes in Peking opera clearly distinguish rank. Emperors and their families wear yellow robes ('mang'), while high-ranking officials wear purple. Lower-ranking officials might wear blue, and the style and embroidery of the robes denote status.

What are 'water sleeves' in Peking opera costumes, and what is their function?

Water sleeves are long, flowing sleeves attached to Peking opera costumes. They are designed to be flicked and waved like water, facilitating emotive gestures and enhancing the expressiveness of the performers' movements.

What are stage properties in Peking opera called, and what types of items are included?

Stage properties in Peking opera are known as 'Qimo.' They include everyday items like fans, brushes, and tea sets, as well as symbolic items like sedan chairs, oars, and horsewhips, all serving as artistic representations rather than mere imitations.

How do percussion patterns function in Peking opera music?

Percussion patterns in Peking opera provide context and identify characters, particularly during stage entrances. There are numerous patterns, each signifying a character's specific rank and personality, adding another layer of symbolic communication.

What is the concept of 'zi zheng qiang yuan' in Peking opera singing?

'Zi zheng qiang yuan' is an expression summarizing the ideal aesthetic for Peking opera songs, meaning that written characters should be delivered accurately and precisely, and the melodic passages should be weaving or 'round.' This emphasizes clarity and fluidity in vocal performance.

What is the significance of the 'guban' and 'paiban' in Peking opera performances?

The 'guban' (a small high-pitched drum) and 'paiban' (clapper) are crucial instruments in Peking opera. The player of these instruments often acts as the conductor of the entire ensemble, guiding the music and tempo.

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What is Peking Opera?

A Synthesis of Arts

Peking opera, also known as Beijing opera, is the most prominent form of Chinese opera. It masterfully integrates instrumental music, vocal performance, mime, martial arts, dance, and acrobatics into a cohesive and captivating theatrical experience.

Origins and Development

Emerging in Beijing during the mid-Qing dynasty (1644–1912), Peking opera fully matured by the mid-19th century. It gained immense popularity within the Qing court and is now recognized as a significant cultural treasure of China.

Global Recognition

Recognized by UNESCO as an Intangible Cultural Heritage of Humanity, Peking opera's influence extends beyond China, with significant presences and appreciation found in Taiwan, the United States, and Japan.

Historical Trajectory

Birth in the Capital

Peking opera originated from the fusion of Hui opera (Huiju) and other regional styles, notably Kunqu and Qinqiang. The convergence of Anhui and Hubei troupes in Beijing in the early 19th century marked its formative period, solidifying its characteristic melodies and performance styles.

Imperial Patronage

The art form received significant royal endorsement, particularly from Empress Dowager Cixi in the late 19th century, which elevated its status above earlier operatic forms and cemented its place as the premier court entertainment.

Evolution and Adaptation

Historically an all-male domain, Peking opera saw the emergence of female performers in the late 19th century. The 20th century brought significant shifts, including its controversial use during the Cultural Revolution for political messaging, followed by a resurgence of traditional forms and ongoing reforms to engage contemporary audiences.

Character Archetypes

Sheng (Male Roles)

The primary male role, encompassing various subtypes: laosheng (dignified older men), xiaosheng (young men, often heroic or romantic), and wusheng (martial characters skilled in combat and acrobatics).

Dan (Female Roles)

Encompasses all female characters, traditionally played by male actors. Key types include qingyi (virtuous, mature women), huadan (vivacious, unmarried women), laodan (older women), wudan (martial women), and daomadan (young female warriors).

Jing (Painted-Face Male)

Characterized by elaborate facial makeup symbolizing personality traits. Jing roles are typically forceful characters, requiring strong voices and exaggerated gestures. Colors in their makeup convey specific attributes: red for loyalty, white for treachery, and black for integrity.

Chou (Clown Role)

The male clown role, usually playing secondary characters. Chou characters are often humorous and likable, known for their distinctive facial makeup (xiaohualian) featuring a white patch around the nose. They often incorporate improvisation and speak in the common Beijing dialect.

Melodies and Rhythms

Vocal Production

Vocal techniques emphasize breath control, precise pronunciation, and stylized delivery. The two primary melodic styles, Xipi (often for joyous stories) and Erhuang (typically for lyrical narratives), utilize distinct musical patterns and tempos.

Instrumentation

The ensemble typically features melodic instruments like the high-pitched jinghu (spike fiddle) and yueqin (plucked lute), alongside percussion instruments such as daluo, xiaoluo, and naobo. The guban (drum and clapper) player often leads the ensemble.

Stage Speech and Song

Performances incorporate both sung arias and spoken dialogue, often using classical Chinese and modern Mandarin. Stage speech includes monologues, verse recitations, and conventionalized speeches marking character entrances and exits, all delivered with rhythmic and musical qualities.

Aesthetic Principles

Costumes and Symbolism

Costumes are highly symbolic, indicating rank, status, and character traits through color and embellishment. Elaborate robes, intricate headwear, and flowing "water sleeves" are integral to conveying meaning and enhancing the performer's movements.

Staging and Props

Peking opera stages are traditionally sparse, relying on symbolic conventions rather than realistic depictions. A table and chair can represent various settings, from a city wall to a mountain. Props like whips signify horses, and oars represent boats, emphasizing suggestion over literal representation.

Movement and Aesthetics

Movement prioritizes beauty and expressiveness over realism. Every gesture, pose, and transition is carefully stylized, often employing circular motions and avoiding sharp angles. The synthesis of song, speech, dance, and combat is paramount, creating a fluid and evocative performance.

Rigorous Training

Apprenticeship System

Becoming a Peking opera performer requires years of intensive training, traditionally beginning at a young age. Apprenticeships involved rigorous physical conditioning, vocal training, and acting practice, often under strict discipline.

Modern Education

While traditional methods persist, modern training often incorporates formal schooling alongside performance arts. Specialized schools and academies focus on developing performers' skills across all four main role types (Sheng, Dan, Jing, Chou) and supporting roles.

Thematic Range

Traditional Narratives

The repertoire comprises approximately 1,400 plays, largely drawn from Chinese history, folklore, and classic novels. These are often categorized as civil (focusing on relationships and emotion) or martial (emphasizing action and combat).

Contemporary Adaptations

In recent decades, Peking opera has adapted to modern life, incorporating contemporary themes and even Western influences, including adaptations of Shakespearean plays. This evolution aims to maintain relevance and attract new audiences.

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The Grand Spectacle

💡 Dive in with Flashcard Learning! 💡

What is Peking Opera? ℹ️

🎭 A Synthesis of Arts

📍 Origins and Development

🌍 Global Recognition

Historical Trajectory 📜

🌟 Birth in the Capital

👑 Imperial Patronage

🎭 Evolution and Adaptation

Character Archetypes 🎭

👨 Sheng (Male Roles)

👩 Dan (Female Roles)

👹 Jing (Painted-Face Male)

🤡 Chou (Clown Role)

Melodies and Rhythms 🎵

🎶 Vocal Production

🎻 Instrumentation

🗣️ Stage Speech and Song

Aesthetic Principles 🎨

👘 Costumes and Symbolism

🏛️ Staging and Props

🤸 Movement and Aesthetics

Rigorous Training 🎓

📚 Apprenticeship System

🏫 Modern Education

Thematic Range 📚

📖 Traditional Narratives

🎬 Contemporary Adaptations

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📜 Important Notice

Dive in with Flashcard Learning!

What is Peking Opera?

A Synthesis of Arts

Origins and Development

Global Recognition

Historical Trajectory

Birth in the Capital

Imperial Patronage

Evolution and Adaptation

Character Archetypes

Sheng (Male Roles)

Dan (Female Roles)

Jing (Painted-Face Male)

Chou (Clown Role)

Melodies and Rhythms

Vocal Production

Instrumentation

Stage Speech and Song

Aesthetic Principles

Costumes and Symbolism

Staging and Props

Movement and Aesthetics

Rigorous Training

Apprenticeship System

Modern Education

Thematic Range

Traditional Narratives

Contemporary Adaptations

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

Feedback & Support

Disclaimer

Important Notice