Performance art and musical drama are deeply rooted in Chinese tradition. Though performers were once widely regarded as the lowest class in ancient China, a plethora of schools of traditional operas and dramatic arts have transcended time and still attract large audiences in the present People's Republic. The most widely known and influential is, of course, Beijing Opera, or jing ju, which originated over two hundred years ago and is a synthesis of grace, voice, discipline, and physical agility. Over the course of history, contrary to its name, Beijing Opera has incorporated musical melodies from operas throughout China.
Cheng Yanqiu -A Documentary Film for the Centenary of the Birthday of Cheng Yanqiu
The Performing Art of Beijing Opera (Master Mei Lanfang's The Drunken Concubine video clip)
Classic Aria Accompaniments of Cheng' School
Beijing Opera is a performing art unique in its aesthetic achievement. Though Beijing Opera is a combination of many aspects of the performing art, vocal art is its most essential part. It can be said with certainty that without vocal art there is no opera. The singing of both male and female roles is diverse and expressive, giving vent to their innermost feelings and emotions. It has an enchanting artistic appeal.
The Vocal Art of Chinese Beijing Opera comprises some 283 excellent arias sung by more than 120 eminent Beijing Opera artists over the period from 1910 to the 1980s. Among them were Tan Xinpei, Yang Xiaolou, Yu Shuyan and Mei Lanfang. This collection, which represents the top-level vocal art of Beijing Opera, not only meets the need for entertainment, but is of great value to scholars in the history of Beijing Opera.
With pieces depicting the whole history and literary tradition of China and even some tales brought from the West, Beijing Opera transited from an art reserved for royalty to a popular form of entertainment and art for people on all levels of society. At least one Beijing Opera troupe will base itself in almost every Chinese province. Beijing and Tianjin are regarded as the hotspots in the north and Shanghai in the south.
As did most other traditional arts, Beijing Opera stagnated during the Cultural Revolution (1966-1976). Long-established pieces were purged while the well-known Eight Model Plays, documenting revolutionary activities during the Second Sino-Japanese War, communist action against the Nationalists in the Civil War with the Nationalists, and class struggle with the founding of the People's Republic were cultivated. Nevertheless, Beijing Opera was still held as a national standard. Today, legends of heroes and the supernatural and stories dealing with the Communist Revolution and historical events of the recent past are shown.
The Harbor | The Legend of Red Lantern | Takeover of Wei-Hu Mountain | Sweeping the White Tiger Regiment | Red Woman Detachment | Battle on the Plain | The Azalea Mountain | Sha Ja Bang | Hymn of Dragon River
Since 1978, Beijing Opera has largely lost out to the younger generation and rise of popular entertainment. Its audience comprises of elder people, who were young at the height of the art. There are movements to restore this and other performance arts. The Chinese Opera journal sponsors the Plum Blossom Award for artists younger than 45 years old who perform on the Beijing stage. A "Beijing Opera Month" is held in China and there are many competitions for young performers through the China Central Television (CCTV).
Main Roles in Beijing Opera:
Male Role (Sheng): civil, military, Lao Sheng (old man with a beard, dignified, polished, official, scholar), Xiao Sheng (young man, shrill voice, young warrior, young man of society, slight of stature, elaborate dress), Wu Sheng (acrobatic male, extremely agile and physically skilled)
General Lu Bu and Beauty Diao Chan | Silang Visits His Mother | Wenzhao Juncture (Escape Out of the Pass) | Four Early Great Players of Xu Sheng | Four Late Great Players of Xu Sheng Character | Classic Arias of Ma Lianliang | Classic Arias of Zhou Xinfang | Selected Arias from Personated Old Men | Personated Old Women and Personated Young Men | Selected Arias of Li Duokui | Selected Arias from Representatives of Young Male Characters | In the Shade of Willows
Female Role (Dan): Qing Yi (modest, virtuous), Hua Dan (flirtatious, playful), Gui Men Dan (young, married girl), Dao Ma Dan (strong woman, female general), Wu Dan (female acrobat), Lao Dan (old woman)
Classic Arias of Shang Xiaoyun | Mei Lanfang's Stagecraft | Classic Arias of Xun Huisheng | The Tragedy of Dou E
| The Red Maid | Riverside Pavilion | Four Famous Younger Players of Dan Character | Four Great Players of Dan Character | Selected Arias from Representatives of "Qingyi" | Selected Arias of Li Weikang | Selected Arias of Li Shiji | The Unicorn Purse | Woman Generals of the Yang Family | Campaign of Hong Zhou City
Comedy Actor or Clown (Chou): dim-witted, amusing, rascal, occasionally slightly wicked
Drunken Concubine | Pig Steals the Magic Bell | Promotion of Scholar Xu | The Flaming Mountains | Jiang Gan Steals the Letter
Painted Face Male (Jing): Spectators are usually startled by the appearance of the Jing. His facial colors symbolize type of character: red-good, white-treacherous, etc.
Farewell My Concubine | The Orphan of Zhao Family | Qin Xianglian | Li Kui Visits His Mother | Forest of Wild Boars | General and Minister Are Reconciled | Famous Players of Jing Characters | Jing Characters of Beijing Opera | General Yao Qi | Selected Arias from Representatives of "Hualiang"
