Peking Opera

京剧

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Synopsis

Peking Opera is one of the five major traditional Chinese opera forms. It originated in Beijing during the mid-Qing Dynasty and has a history of over 200 years. It integrates elements from Anhui Opera and Han Opera, absorbing the artistic essence of Kunqu Opera and Qinqiang Opera, with singing, recitation, acting, and acrobatics as its core skills, and features four main role types: Sheng (male roles), Dan (female roles), Jing (painted-face roles), and Chou (clown roles). In 2010, it was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity and is regarded as a quintessential part of Chinese culture.

Overview

Peking Opera, hailed as China's national quintessence, is a representative genre of traditional Chinese theater. It originated in Beijing during the mid-Qing Dynasty and boasts a history of over 200 years. It evolved by synthesizing elements from Anhui Opera, Han Opera, and absorbing the essence of various local operas such as Qinqiang, Kunqu, Bangzi, and Yiyangqiang. Maturing within the imperial capital of Beijing, it became the culmination of Chinese theatrical art. In 2010, Peking Opera was inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity.

With its stylized performance system, exquisite costumes and facial makeup, unique vocal music, and profound literary heritage, Peking Opera stands as one of the most recognizable art forms of traditional Chinese culture. From emperors and generals to scholars and beauties, from courtly elegance to folk stages, it carries the aesthetic ideals and spiritual pursuits of the Chinese nation.

Historical Origins

The origins of Peking Opera can be traced back to the 55th year of Emperor Qianlong's reign (1790). To celebrate the 80th birthday of Emperor Qianlong, the Sanqing Troupe from Anhui, led by Gao Langting, performed in Beijing. Subsequently, other Anhui troupes—Sixi, Chuntai, and Hechun—also entered the capital, creating the grand spectacle of the "Four Great Anhui Troupes Entering Beijing." During their performances in Beijing, these troupes gradually collaborated with artists from Han Opera, blending the erhuang melody of Anhui Opera with the xipi melody of Han Opera, forming the unique pihuang vocal system of Peking Opera.

Around 1840, Peking Opera formally emerged as an independent theatrical form. It subsequently experienced unprecedented prosperity within the Qing court. Empress Dowager Cixi was particularly fond of Peking Opera, elevating it from a folk art to a courtly entertainment. The Republican era (1912-1949) was the golden age of Peking Opera. The "Four Great Dan" performers—Mei Lanfang, Shang Xiaoyun, Cheng Yanqiu, and Xun Huisheng—pushed the art to its peak. Mei Lanfang further introduced Peking Opera abroad, visiting Japan, the United States, the Soviet Union, and other countries, making it a vital window for showcasing Chinese culture to the world.

The Four Role Types

Role Type	Gender	Representative Character Types	Famous Performers
Sheng	Male	Laosheng (old male), Xiaosheng (young male), Wusheng (martial male)	Ma Lianliang, Tan Xinpei
Dan	Female	Qingyi (virtuous female), Huadan (vivacious female), Daomadan (martial female)	Mei Lanfang, Cheng Yanqiu
Jing	Male	Hualian (painted face), Tongchuihualian (copper-hammer painted face)	Qiu Shengrong, Yuan Shihai
Chou	Male/Female	Wenchou (civilian clown), Wuchou (martial clown)	Xiao Changhua

Artistic Features

The performance system of Peking Opera centers on four fundamental skills: singing (chang), speech (nian), acting (zuo), and combat (da). Chang refers to vocal performance; the primary vocal styles are xipi and erhuang, with different rhythmic patterns expressing different emotions. Nian refers to spoken dialogue, divided into jingbai (Beijing dialect speech) and yunbai (rhymed speech). Zuo refers to physical acting, including stylized movements of gestures, eye expressions, body postures, and footwork. Da refers to stage combat, which incorporates the essence of Chinese martial arts and is highly spectacular.

The facial makeup (lianpu) of Peking Opera is one of its most visually striking artistic elements. Different colors represent different character traits: red symbolizes loyalty and righteousness (e.g., Guan Yu), black represents integrity and straightforwardness (e.g., Bao Zheng), white signifies treachery and cunning (e.g., Cao Cao), blue indicates fierceness and valor, and gold represents gods, spirits, or demons. The application of facial makeup is extremely meticulous and is one of the fundamental skills for Peking Opera performers.

The costumes of Peking Opera are called xingtou and include various types such as mangpao (dragon robes), kao (armor), pei (cloaks), and xuezi (informal gowns), each with strict usage conventions. The color, patterns, and style of the costumes must match the character's status, personality, and the plot. The exquisite embroidery and elaborate designs make Peking Opera costumes works of art in themselves.

Classic Plays

Peking Opera has a repertoire of over a thousand traditional plays. Among the most well-known are: Farewell My Concubine (Bawang Bie Ji), The Drunken Beauty (Guifei Zuijiu), The Ruse of the Empty City (Kongcheng Ji), The Case of Executing Chen Shimei (Zha Mei An), The Fourth Son Visits His Mother (Silang Tanmu), The Jewelry Pouch (Suo Lin Nang), The Gathering of Heroes (Qun Ying Hui), and Picking the Slippery Cart (Tiao Hua Che). Each play has fixed vocal patterns, physical movements, and performance conventions, with actors developing their own stylistic schools within the tradition.

Current Status and Inheritance

In contemporary times, Peking Opera faces challenges such as an aging audience and difficulties in transmission. However, national and local cultural institutions are actively promoting its protection and inheritance. New forms like Peking Opera entering schools, Peking Opera clubs, and online live streaming are attracting younger audiences. Some Peking Opera performers are also experimenting with integrating modern art forms to explore contemporary expressions of the art.