The commonalities between Peking Opera and Kunqu Opera are a little more specific

At the same time, Peking Opera accepted some of the repertoire, tunes and performance methods of Kunqu Opera and Qin Dialect.

Since the 55th year of Qianlong in the Qing Dynasty, the four major Hui troupes of Sanqing, Sixi, Chuntai and Hechun, which had been performing in the south, entered Beijing one after another, cooperated with Han tune artists from Hubei, and at the same time accepted some repertoire, tunes and performance methods of Kunqu Opera and Qin dialect, and absorbed some local folk tunes, and finally formed Peking Opera through continuous exchanges and integration.

Peking Opera has a set of standardized artistic expressions in literature, performance, stage art and other aspects. The singing cavity of Peking Opera belongs to the plate variant, with two reeds and Xipi as the main vocal cavities.

Features of Peking Opera:

In literature, performance, singing, gongs and drums, makeup, face painting and other aspects, the stage art of Peking Opera has formed a set of rhythmic and standardized procedures that restrain and complement each other through the long-term stage practice of countless artists. It is very rich as an artistic means of creating a stage image, and the usage is very strict.

If you can't control these programs, you can't complete the creation of Peking Opera stage art. Because Peking Opera entered the court at the beginning of its formation, its development and growth were different from those of local operas.

It is required to express a wider field of life, to create more types of characters, to have stricter requirements for the comprehensiveness and integrity of its skills, and to create a higher aesthetic requirements for its stage image.

Of course, at the same time, it also correspondingly weakens its folk vernacular atmosphere, and its simple and rough style characteristics are relatively weak. Therefore, its performing arts tend to be more expressive techniques that combine virtual and real, and transcend the limitations of stage space and time to the greatest extent, so as to achieve the artistic realm of "conveying the spirit with form, and having both form and spirit".

Difference between Peking Opera and Kunqu Opera:1Peking Opera is a plate cavity, that is, a plate style to regulate the singing cavity, while Kunqu Opera is a song card body, and the song card is used to stipulate the singing cavity; Kunqu opera has a higher degree of singing freedom than Peking opera, but it is more complex.

2.The main linguistic basis of Peking Opera and Kunqu Opera is Zhongzhou Rhyme, but the difference is that Jingxin Friendship Opera has Beijing Rhyme, and Kunqu Opera has certain characteristics of Southern Jiangsu dialect (specifically, it can be said in terms of tone, articulation, etc.). 3.

In terms of "doing", Kunqu Opera pays attention to "no movement, no singing, no singing, no dancing", and the body is very fluid, while Peking Opera is relatively "stable" (martial arts are not counted). 4.In terms of the distinction between the districts and hus of the industry, Kunqu opera is more detailed, and Peking Opera has simplified on its basis.

Kunqu Opera is one of the best forms of Peking Opera.

Peking Opera, also known as "Peking Opera", "Ping Opera" and "National Opera", is a traditional Chinese opera with a history of more than 200 years. In the 55th year of Qianlong in the Qing Dynasty (1790), the four major Hui troupes successively performed in Beijing, and cooperated with Han tune artists from Hubei during the Jiaqing and Daoguang periods, influenced each other, accepted some repertoire, tunes and performance methods of Kunqu opera and Qin dialect, and absorbed some folk tunes. After Daoguang, Cheng Changgeng, the head of the three major classes and the main actor, was known for singing Huiyin and Erhuang, and with the entry of Hubei Han tune actor Yu Sansheng into Beijing, he also brought the Hubei West Pi tune known as "Chu tune", which contributed to the formation of the "Pi Huang" singing voice that was confluent with the Hui tune and the Han tune.

Peking Opera is widely popular throughout the country.

Peking Opera originated from four local operas: first, Hui Opera, which was originally popular in Anhui Province; the second is the popular Chinese drama in Hubei; the third is Kunqu opera, which is popular in Jiangsu; The fourth is the Qin opera popular in Shaanxi, also known as Bangzi. After the four major Hui troupes entered Beijing at the end of the Qianlong period of the Qing Dynasty, they cooperated with Han tune artists from Hubei during the Jiaqing and Daoguang periods, influenced each other, and gradually accepted some repertoire, tunes and performance methods of Kunqu opera and Qin dialect, and absorbed some folk tunes and Beijing native language, and gradually integrated and developed.

Kunqu Opera is the "mother of drama", and it can be said that Peking Opera evolved from Kunqu Opera.