Peking opera, or Beijing opera, is the most dominant form of Chinese opera, which combines music, vocal performance, mime, martial arts, dance and acrobatics. It arose in Beijing in the mid-Qing dynasty (1644–1912) and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing court and has come to be regarded as one of the cultural treasures of China. Major performance troupes are based in Beijing, Tianjin and Shanghai. The art form is also preserved in Taiwan, where it is also known as Guójù. It has also spread to other regions such as the United States and Japan.
Kunqu, also known as Kunju (崑劇), K'un-ch'ü, Kun opera or Kunqu Opera, is one of the oldest extant forms of Chinese opera. It evolved from a music style local to Kunshan, part of the Wu cultural area, and later came to dominate Chinese theater from the 16th to the 18th centuries. It has been listed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO. Wei Liangfu refined the musical style of kunqu, and it gained widespread popularity when Liang Chenyu used the style in his drama Huansha ji. In 2006, it was listed on the first national intangible cultural heritage list. In 2008, it was included in the List of Representative Works of Intangible Cultural Heritage of Humanity. In December 2018, the General Office of the Ministry of Education announced that Peking University is the base for inheriting excellent traditional Chinese culture in Kunqu.
Taiwanese opera commonly known as Ke-Tse opera or Hokkien opera, is a form of traditional drama originating in Taiwan. Taiwanese opera uses a stylised combination of both the literary and colloquial registers of Taiwanese Hokkien. Its earliest form adopted elements of folk songs from Zhangzhou, Fujian, China. The plots are traditionally drawn from folk tales of the southern Fujian region, though in recent years stories are increasingly set in Taiwan itself. Taiwanese opera was later exported to other Hokkien-speaking areas, such as Singapore, Malaysia, the Philippines, and Fujian, China.
Mei Lan, better known by his stage name Mei Lanfang, was a notable Chinese Peking opera artist in modern Chinese theater. Mei was known as "Queen of Peking Opera". Mei was exclusively known for his female lead roles (dan) and particularly his "verdant-robed girls" (qingyi), young or middle-aged women of grace and refinement. He was considered one of the "Four Great Dan", along with Shang Xiaoyun, Cheng Yanqiu, and Xun Huisheng.
Theatre of China has a long and complex history. Traditional Chinese theatre, generally in the form of Chinese opera, is musical in nature. Chinese theatre can trace its origin back a few millennia to ancient China, but the Chinese opera started to develop in the 12th century. Western forms like the spoken drama, western-style opera, and ballet did not arrive in China until the 20th century.
The Peony Pavilion, also named The Return of Soul at the Peony Pavilion, is a romantic tragicomedy play written by dramatist Tang Xianzu in 1598. The plot was drawn from the short story Du Liniang Revives For Love and depicts a love story between Du Liniang and Liu Mengmei that overcomes all difficulties. Tang's play diverges from the short story in that it integrates elements of the Ming dynasty, despite being set in the Southern Song.
Zhou Xinfang, also known by his stage name Qilin Tong was a Chinese actor and musician who was a Peking opera actor who specialized in its "old male" roles. He is considered one of the greatest grand masters of Peking Opera of the 20th century and the best known and leading member of the Shanghai school of Peking opera. He was the first director of the Shanghai Peking Opera Company.
The arts of China have varied throughout its ancient history, divided into periods by the ruling dynasties of China and changing technology, but still containing a high degree of continuity. Different forms of art have been influenced by great philosophers, teachers, religious figures and even political leaders. The arrival of Buddhism and modern Western influence produced especially large changes. Chinese art encompasses fine arts, folk arts and performance arts.
Sichuan opera is a type of Chinese opera originating in China's Sichuan province around 1700. Today's Sichuan opera is a relatively recent synthesis of 5 historic melodic styles. Regionally Chengdu remains to be the main home of Sichuan opera, while other influential locales include Chongqing, Guizhou, Yunnan, Hubei and Taiwan. Sichuan Opera was listed in the first batch of 518 national intangible cultural heritage list announced on May 20, 2006.
Dance in China is a highly varied art form, consisting of many modern and traditional dance genres. The dances cover a wide range, from folk dances to performances in opera and ballet, and may be used in public celebrations, rituals, and ceremonies. There are also 56 officially recognized ethnic groups in China, and each ethnic minority group in China also has its own folk dances. Outside of China, the best-known Chinese dances today are the dragon dance and the lion dance.
Yuan poetry refers to those types or styles of poetry particularly associated with the era of the Yuan dynasty (1271–1368), in China. Although the poetic forms of past literature were continued, the Yuan period is particularly known for the development of the poetic aspects included in the complex mix of different art forms which characterize Chinese opera, namely the qu or fixed-tone pattern type of verses that were delivered by the actors of these shows. Although the language of Yuan poetry is still generally considered to be Classical Chinese, a certain vernacular aspect reflecting linguistic changes can be seen in some of the fixed-rhythm verse forms, such as Yuan ci and qu. Certain aspects of Yuan poetry can be understood in the context of the social and political changes which took place as part of the process of the Mongol conquest of the Jin and Song Dynasties and their subsequent establishment of the Yuan dynasty.
Zaju was a form of Chinese opera which provided entertainment through a synthesis of recitations of prose and poetry, dance, singing, and mime, with a certain emphasis on comedy. Although with diverse and earlier roots, zaju has particularly been associated with the time of the Yuan dynasty (1271–1368), and zaju remains important in terms of the historical study of the theater arts as well as Classical Chinese literature and poetry. Zaju is known to have been performed during the earlier Song (960–1279) and Jin (1115–1234) dynasties. The various particulars of the zaju multimedia performance were derived from many and diverse sources of musical, dance, poetry, and theater traditions.
The Jiangsu Performing Arts Group, or JPAG, is a theater company established in 2001 and based in Nanjing, Jiangsu, China. It is one of the largest performing arts groups in China and has won eighteen Plum Blossom Prizes and twenty-one Wen Hua Awards. It has also been named "National Key Enterprise for Cultural Export" six times. The group participates in the Chinese Cultural System Reformation.
The Palace of Eternal Life, also translated as The Palace of Eternal Youth, is a play written by Hong Sheng in the Qing dynasty. He absorbed certain material from the long narrative poem The Song of Everlasting Sorrow written by Bai Juyi and the zaju Rain on the Paulownia Tree (梧桐雨) written by Bai Renfu. The Palace of Eternal Life is acclaimed as one of China's "Four Great Classical Dramas", along with The Peony Pavilion, The Peach Blossom Fan and Romance of the Western Chamber. The performance is focused on the everlasting love story of Emperor Xuanzong of Tang and his favorite consort Yang Guifei.
Huaihai opera is a form of local traditional Chinese theatre which combines musics, vocal performance, and dance. Some plays contain mime, acrobatics, and Kung fu. It was created in the 19th century and fully developed in the World War II. The form is popular in Shuyang, Suqian, Lianyungang and Yancheng, with the dialect of Shuyang as the standard pronunciation.
Dance in China has a long recorded history. Depictions of dancing in China appeared over 4,000 years ago. The early dances may be folk dances or ritual dances, some of which developed into court dances. The most important of the early dances served important ritual and ceremonial roles and are known as yayue which continued to be performed at the imperial court until the Qing dynasty. A profusion of dances in popular and court entertainment as well as folk dances have been recorded in ancient texts. The art of dance in China reached a peak during the Tang dynasty when numerous dances were recorded. Dancing as an individual art form declined in the later eras when dances become incorporated into operas and female dancing also declined when footbinding became more prevalent. In more recent times dance has enjoyed a resurgence, and it is widely performed by the public and professionals alike.
Xu Xiaoxiang, born Xu Xin, courtesy name Xinyi and art name Diexian, was a Qing dynasty kunqu and Peking opera artist based in Beijing. He specialized in portraying xiaosheng roles, or younger gentlemen. His best known roles included Zhou Yu in Meeting of Heroes (群英會), Xu Xian in Legend of the White Snake, and Liu Mengmei in The Peony Pavilion.
Canjunxi or nongcanjun was a popular form of Chinese performing art during the Tang (618–907), Five Dynasties (907–960), and Song (960–1279) periods. Initially a comedy duet, canjunxi became more complex and by the late Tang dynasty featured a combination of music, dance, and storytelling.
Professional schools for Chinese opera, known as keban, existed in China from the Ming dynasty (1368–1644) to the 20th century. Formerly attached to performing troupes, many keban became independent boarding schools by the late 19th century.
Xifu, also known as Chinese opera costume in English, are the stage clothes and attire worn in Chinese opera, such as Kunqu, Cantonese opera, Beijing opera, Huangmei opera. Some of these costumes bear some resemblance to the Hanfu system but also show some differences in terms of clothing ornaments and decorations, as well as colour system, and in design and construction. In 2006, the techniques used to produce Beijing opera costumes were included in the national intangible cultural heritage list.
