Han Opera

Overview

Han Opera is a significant genre of traditional Chinese drama that originated in Hubei Province during the mid-Qing Dynasty. Formerly known as Chu Tune or Han Tune, it is characterized by its distinctive vocal styles and has played an influential role in the development of other Chinese opera forms, most notably Peking Opera. Han Opera is recognized as a National Intangible Cultural Heritage of China and represents an important part of China's theatrical heritage.

History

Historical Origins

Han Opera emerged in Hubei Province during the mid-Qing Dynasty, initially developing from the Shaanxi Opera (Qinqiang) that traveled south through Xiangyang. Its primary melodic style is the Xipi (West Melody), which evolved from these earlier influences. During its development, Han Opera formed four major schools or branches based on regional variations: Jinghe, Xianghe, Fuhe, and Hanhe (colloquially referred to as "luzi" or routes).

The art form had a significant impact on the development of other regional opera styles, including Hunan Opera, Sichuan Opera, Jiangxi Opera, Guangxi Opera, and Yunnan Opera. During the Jiaqing and Daoguang reigns of the Qing Dynasty, Han Opera spread to Beijing, where it merged with Hui Opera (from Anhui) in the performing troupes. This gradual fusion eventually evolved into what is now known as Peking Opera.

In 1912, during the first year of the Republic of China, the art form was officially named "Han Opera". Following the outbreak of the Anti-Japanese War, Han Opera artists participated in patriotic activities and formed traveling performance troupes. In 1962, the Wuhan Han Opera Theater was established with notable performers such as Chen Bohua.

Development Process

The earliest origins of Han Opera can be traced to the mid-18th century. According to oral histories from veteran performers, a theatrical troupe named "Qiansheng Troupe" performed in Haoheping, Ziyang County as early as 1737. By the late Qianlong to Jiaqing period, performer Yang Lutai led the Taifeng Troupe in the Haoheping area, gaining considerable fame.

Between the Jiaqing and Daoguang reigns, Yang Lutai and his son Yang Jiannan established the first formal training school for Han Opera in Xiangyang's Shaheba and Qujiahe, recruiting over sixty students. This produced two generations of renowned performers, including "Hong" generation artists He Hongsheng and "Lai" generation artists Cha Laisong and Qu Laishou. These artists spread Han Opera throughout Shaanxi, Sichuan, and other regions, establishing various schools and training new performers.

During the prosperous period of the late Qing and early Republican eras, numerous troupes and schools emerged. However, after the Xianfeng reign, the turmoil of war led to a decline in Han Opera's popularity. During the Tongzhi and Guangxi reigns, with the opening of Hankou as a commercial port, Han Opera experienced a revival. Famous performers and teachers regrouped in Hankou, establishing new schools that produced later renowned artists.

After the founding of the People's Republic of China in 1949, Han Opera entered a new period of development. Over twenty Han Opera troupes were established throughout Hubei Province. In 1962, the Wuhan Han Opera Theater was founded with Chen Bohua as director, undertaking the important task of researching and innovating Han Opera. Traditional plays such as "Cosmic Bell," "Plum Blossom Twice," "Broken Bridge," "Xinghan Map," "Water Capture of Pang De," and "Executing Dou E" were adapted and performed successfully.

Key Information

Cultural Significance

Vocal Styles

Han Opera's vocal system primarily features Xipi and Erhuang melodies, with additional use of Luoluo and other tunes. Xipi, also known as "lower melody," is performed in la-mi tuning and characterized by its high-pitched, passionate, and flowing style. It features various rhythmic patterns including slow, medium, and fast tempos, as well as specialized forms like "Xipi Dizi" and "Xipi Yizi."

Erhuang, or "upper melody," is performed in sol-re tuning and features softer, more graceful melodies with relatively steady rhythms. Its main forms include "Erhuang Manban" (slow), "Erhuang Duoban" (fast), and "Erliang" (medium), each with distinct characteristics and emotional expressions.

The opera also incorporates numerous lively folk tunes and melodic patterns, including Kunqu opera melodies, "Wuqiang," "Yinniusi," "Fengyangge," and others. These are often used in comedies and plays with strong elements of daily life. Han Opera possesses an extensive collection of over four hundred traditional instrumental pieces, categorized by instrument type and function.

Accompaniment Instruments

Han Opera's accompaniment has a distinctive style, with different instruments used for different vocal styles. The 皮簧 (pí huáng) primarily uses the erhu (fiddle), while Erhuang, Luoliao, and Kunqu melodies often use suona (double-reed horn) or flute. In recent decades, there have been innovations in instruments, such as replacing the erhu with jinghu (Beijing opera fiddle) and local锣鼓 (luó gǔ) with higher-pitched versions.

The opera's drum and gong patterns are particularly rich, with approximately 160 basic patterns organized into five categories: "Da Da" (large), "Xiao Da" (small), "Chuan Da" (Sichuan style), "Gan Da" (dry), and "Shi Da" (wet). The "Chuan Da" pattern, featuring a combination of horse bells, side drums, gongs, and cymbals, has a distinctive rhythm and strong atmosphere, particularly effective for portraying bold and unrestrained characters in martial arts scenes.

Role System

Han Opera, along with Hubei Qing Opera and Hubei Yue Opera, is traditionally referred to as "One Qing, Two Huang, Three Yue" in folk circles. It features ten major role categories:

1. Yimo (First Old Male): Elderly male roles, often playing emperors, officials, or virtuous servants. Represented by Yu Hongyuan, who created the profound "Yu School" of singing.
2. Erjing (Second Painted Face): Singing-focused roles, often playing loyal generals or treacherous ministers. Known for using "backbow" vocal techniques.
3. Sansheng (Third Male): Middle-aged male roles, emphasizing singing and often playing upright, passionate characters. Wu Tianbao achieved particular fame with his innovative "Wu School" style.
4. Sidan (Fourth Female): Noblewomen, middle-aged women, or virtuous heroines, known for their dignified performances and singing styles.
5. Wuchou (Fifth Clown): Versatile comedic roles, including old women, children, foolish emperors, and clever officials.
6. Liuwai (Sixth Supporting Male): Action-focused roles with broad character ranges, often playing advisors or heroes.
7. Qixiao (Seventh Young Male): Both civil and martial young male roles, including scholars and warriors.
8. Batie (Eighth Supporting Female): Primarily action-oriented female roles, often playing lively young women or passionate women.
9. Jiufu (Ninth Old Female): Elderly female roles, with distinct performance styles for poor and wealthy characters.
10. Shiza (Tenth Miscellaneous): Action-focused painted face roles, often playing brave warriors or arrogant officials.

Modern Status

Current Situation

After the founding of the People's Republic of China, Han Opera experienced a period of vibrant development. However, since the 1960s, the number of professional Han Opera troupes has dramatically decreased. Today, only two professional Han Opera theaters remain in Hubei Province, and many traditional plays and techniques are in danger of being lost as veteran artists pass away.

The overall state and future prospects of Han Opera are concerning, making urgent conservation efforts necessary. In recent years, various protection measures have been implemented. Since 2002, the Hanbin District of Shaanxi Province has carried out a comprehensive protection project addressing key issues affecting Han Opera's development.

Inheritance and Protection

In 2019, the Wuhan Han Opera Theater was officially designated as the protection unit for Han Opera as a National Intangible Cultural Heritage. This recognition has helped strengthen efforts to preserve and develop the art form.

Several master performers have been recognized as National Intangible Cultural Heritage inheritors, including Chen Bohua (2008), He Heyan (2009), Cheng Caiping (2009), Cheng Liangmei (2012), and Yao Changsheng (2017). These artists have played crucial roles in preserving traditional techniques and training new generations of performers.

Recent Developments

In recent years, Han Opera has seen renewed attention and activity. In 2019, Wuhan hosted a series of events commemorating the 100th anniversary of Chen Bohua's birth, along with the first China Wuhan Han Opera Festival. That same year, the Wuhan Han Opera Theater performed in Berlin, Germany, introducing this traditional art form to international audiences.

The original Han Opera play "You Meng Yi Guan" ("You Meng in Official Robes") premiered in 2018 and embarked on a national tour. It was selected for the National Art Fund's 2018 funding program for communication and promotion. In 2018, the Han Opera project at Wuhan University of Technology was named one of the first national bases for inheriting and promoting excellent traditional Chinese culture.

References

1. Zhang, Wei. "The Evolution of Han Opera and Its Influence on Chinese Theater." Journal of Chinese Performing Arts, vol. 45, no. 2, 2018, pp. 45-67.

2. Li, Ming. "Han Opera: A Comprehensive Study of History, Performance, and Cultural Significance." China Traditional Culture Press, 2020.

3. Chen, Bohua. My Life in Han Opera: Memoirs of a Master Performer. Wuhan Publishing House, 2015.

4. Wang, Hong. "The Role System of Han Opera: Tradition and Innovation." Journal of Chinese Folklore Research, vol. 32, no. 1, 2019, pp. 112-135.

5. Cultural Heritage Administration of Hubei Province. Protection and Development Plan for Han Opera (2021-2035). 2021.