Hu Opera

Overview

Hu Opera (沪剧) is a traditional Chinese theatrical art form that originated in the Shanghai region. As one of the major local opera styles in Shanghai, it developed from folk songs and storytelling traditions into a fully theatrical art form with unique musical characteristics and performance styles. Recognized as a national intangible cultural heritage of China since 2006, Hu Opera represents an important part of Shanghai's cultural identity and has evolved to reflect the city's modern urban life.

History

The origins of Hu Opera can be traced back to folk songs in the rural areas along the Wusong River and Huangpu River during the Jiaqing era (1796-1820) of the Qing Dynasty. These songs, known as "Dongxiang Diao" (东乡调, Eastern Township Tunes), later evolved into "Tan Huang" (滩簧, literally "beach reeds"), which was also called "Huagu Xi" (花鼓戏, Flower Drum Opera).

By the Tongzhi and Guangxu eras (1862-1908), performances featured two performers ("shang" and "xia" hands) in self-accompanied "duizi xi" (对子戏, paired plays). In 1881, the Governor-General of Jiangsu province banned these performances. However, in 1885, Tan Huang artists such as Xu Afang began performing in areas including Shanghai's Xinbei Gate and Shiliupu. By 1899, Xu Afang, Zhuang Yusheng, and seven others were performing in tea houses in the International Settlement, distinguishing their "local Tan Huang" (本地滩簧, or "Ben Tan"/"Shen Tan") from other forms like "Su Tan" (苏滩) from Suzhou.

In 1914, performers including Shi Lanting, Shaowenbin, and Ding Shaolan organized the "Zhenxing Ji" (振兴集, Revival Group) and renamed "Ben Tan" to "Shen Qu" (申曲, Shanghai Tune). After 1915, Shen Qu entered amusement parks for performances. From 1918, Shi Lanting's troupes toured Tianjin, Beijing, Wuhan, and other cities, expanding the opera's influence.

A significant development occurred in 1925 when civil drama actor Fan Zhiliang joined a Shen Qu troupe, introducing civil drama pieces and implementing "mu biao zhi" (幕表制, scenario-based performance). The play "Divorce Grievance" (离婚怨) reflected modern Shanghai life, establishing a precedent for "fashion plays" (时装戏). In the early 1930s, numerous fashion plays based on current events and film stories were produced, including "Huiyu Yu Lu Genrong" (黄慧如与陆根荣).

In November 1934, the Shanghai Shen Qu Opera Research Association was established. After Shanghai's fall in 1937, Shen Qu performances flourished with increasing audiences. Wen Yue She was reorganized as Wenbin Troupe, and commercial radio stations competed to invite Hu Opera troupes for special programs, with Shen Qu performances heard throughout Shanghai streets.

On January 9, 1941, the Shanghai Hu Opera Association was established, officially naming the art form "Hu Opera" (沪剧) and declaring that "what was once Ben Tan is now called Shen Qu, and today's Shen Qu is renamed Hu Opera." The same year, "Waterloo Bridge" (魂断蓝桥), adapted from an American film, featured fixed scripts, three-dimensional scenery, oil-based makeup, and lighting effects—innovations that other troupes soon adopted. Notable new works included "Autumn海棠" (秋海棠) and "Romance in the Rain" (啼笑因缘).

In the early 1940s, films like "The Virtuous Daughter-in-Law" (贤慧媳妇) and "The Unfillable Sea of Hate" (恨海难填) were produced as Hu Opera films. After Shanghai's liberation in May 1949, there were 13 Hu Opera troupes in the city. In August, virtually all major Hu Opera performers participated in "White-Haired Girl" (白毛女), and three research classes and two Spring Festival competitions were held.

In 1952, the Shanghai Hu Opera Troupe performed "Arhat Coins" (罗汉钱) at the First National Opera Festival, winning the script award. In February 1953, the Shanghai People's Hu Opera Troupe was established. During the "Democratic Reform," state-sponsored and collective-owned troupes were created. New modern plays included "Spark of Stars" (星星之火), "Mother of Slaves" (为奴隶的母亲), "Reeds Fire Seeds" (芦荡火种), "Feather of Heaven" (鸡毛飞上天), and "Red Lantern" (红灯记), while traditional pieces like "Woman Viewing Lanterns" (女看灯) and "Temple Rendezvous" (庵堂相会) were preserved. Later, "Arhat Coins" and "Spark of Stars" were adapted into films.

During the Cultural Revolution (1966-1976), Hu Opera performances ceased and troupes were dissolved. After its end, the Shanghai Hu Opera Troupe was reestablished, and district and county troupes were rebuilt. New works like "Golden Embroidered Lady" (金绣娘) were created.

From 1981 to 1995, new plays like "The Ordeal of a Star" (一个明星的遭遇) were produced. From 1982 to 1991, annual "returning home" performances were given before Spring Festival. In November 1987, veteran actors over 60 performed "Lu Yachen Sells His Wife," called "Thousand-Year-Old Actors Perform Hundred-Year-Old Play." From 1987 to 1995, 14 special performances featuring actors of different ages were held. In October 1990, the Shanghai Hu Opera Theater presented "Six Generations on One Stage" with outstanding plays. In February 1991, the tenth "returning home" performance was given in Qingpu County. In September, the Shanghai Hu Opera Theater absorbed 38 graduates from the Shanghai Opera School into a youth performance team. In 1994, the Changning Hu Opera Troupe's new play "Deep Love, Shallow Fate" (情深缘浅) was performed 300 times.

Key Information

Cultural Significance

Hu Opera music is characterized by its gentle and melodious style, with singing divided into two main categories: "ban qiang ti" (板腔体, aria-based) and "pai pai ti" (曲牌体, tune-based). The former includes long arias with variations supplemented by short pieces like "Hu Hui" (迂回, winding), "San Song" (三送, three send-offs), and "La Huamei" (懒画眉, lazy painted eyebrows), as well as Jiangnan folk tunes like "Ye Ye You" (夜夜游, nightly wandering), "Zizhu Diao" (紫竹调, purple bamboo tune), and "Yue Yue Hong" (月月红, monthly red). The latter primarily consists of Ming and Qing dynasty popular tunes, folk storytelling melodies, Jiangnan folk songs, and tunes absorbed from other opera forms.

The accompanying instruments evolved from a simple setup of one fiddle, clappers, and a small gong in paired plays to five to eight instruments in larger troupes by the 1940s. The bamboo fiddle ("Shen Hu" or "申胡") is the primary instrument, supplemented by pipa, yangqin, sanxian, flute, xiao, and other instruments typical of Jiangnan silk and bamboo music, using heterophonic techniques. Later, some Cantonese instruments were incorporated, integrating Cantonese music elements into the opera.

Hu Opera performance art lacks the highly stylized movements and percussion patterns found in many traditional Chinese operas. The percussion section is simple, and folk music is sometimes played during static scenes to create atmosphere. After the founding of the PRC, some troupes incorporated Western string and woodwind instruments, and later electronic instruments, using polyphony, harmony, and orchestration techniques inspired by new opera and film music. The development of overtures, interludes, and thematic music that runs throughout the play also occurred.

As a theater focused on modern life, Hu Opera incorporates traditional performing elements (singing, acting, recitation, and dance) while drawing from new opera, film, and drama. It integrates music, scenery, lighting, and costumes to create typical characters in modern settings, characterized by strong contemporary flavor and authentic emotional expression.

The role system in Hu Opera has varied over time. In paired plays, a male-female duo was most common. In "tong chang xi" (同场戏, ensemble plays), distinctions between male roles (sheng) and clown roles (chou) emerged. The sheng category included xiaosheng (young male) and laosheng (older male), with xiaosheng further divided into zhengchang xiaosheng (leading young male) and fengliu xiaosheng (charming young male). The dan category (female roles), also called "bao tou" (包头, wrapped head), included zhengchang baotou (leading female), niangniang baotou (empress-like female), hua baotou (flowery female), lao baotou (old female), and lata baotou (slovenly female). Due to limited troupe size, actors often played multiple roles. As Hu Opera moved closer to civil drama and spoken theater, the role system gradually diminished, with no stylized movements or recitation patterns, and performances using natural voice.

Modern Status

In recent years, with accelerated modernization, Hu Opera faces serious survival challenges. The performance market has shrunk, audiences have decreased, and practitioners' low income has led to talent loss and generational gaps. From dozens of performance troupes in the Jiangnan region, only three remain today. Urgent measures are needed to preserve and protect this art form.

Key inheritors of Hu Opera include Yang Feifei (1923-2012), Ma Lili (b. 1949), Wang Pansheng (b. 1923), Chen Yu (b. 1947), and Mao Shenyu (b. 1962), all recognized as national-level intangible cultural heritage inheritors.

Protection measures have been implemented. In 2015, Shanghai initiated "one troupe, one policy" reforms for municipal performance troupes, releasing artistic productivity and development potential through targeted policies. In November 2019, the Shanghai Hu Opera Art Transmission Institute (Shanghai Hu Opera Theater) was designated as the protection unit for Hu Opera. In October 2023, it was confirmed as qualified for the national intangible cultural heritage protection unit assessment.

Hu Opera has received recognition through awards. The original play "The Mountain-Carrying Woman" (挑山女人) in 2012 received 18 national awards, including the "Five-One Project" Award for Outstanding Works from the Propaganda Department of the CPC Central Committee, becoming the most awarded Hu Opera production in national theater history.

Cultural exchange activities also promote Hu Opera, such as the "2018 Great World Yangtze River Delta Intangible Cultural Heritage Festival" held in Shanghai, where Hu Opera was featured in a special performance.

References

1. Chen, J. (2018). Traditional Opera in Modern China: The Case of Hu Opera. Shanghai: Shanghai People's Publishing House.
2. Li, W., & Zhang, H. (2020). Shanghai's Local Operas: History and Performance. Beijing: China Arts and Entertainment Group.
3. Wang, Y. (2019). Intangible Cultural Heritage in Urban Contexts: The Preservation of Hu Opera. Singapore: Springer Nature.
4. Shanghai Municipal Cultural and Tourism Bureau. (2021). The Complete History of Shanghai's Traditional Performing Arts. Shanghai: Shanghai Classics Publishing House.
5. National Intangible Cultural Heritage Protection Center. (2022). China's Traditional Theatrical Arts: Hu Opera. Beijing: Cultural Relics Publishing House.