When did Peking Opera and cross talk originate?

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 dialect that is popular in Shaanxi, also known as Bangzi.

At the end of Qianlong in the Qing Dynasty and the early Jiaqing period, after the four major Hui troupes entered Beijing, 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.

Impact

Peking Opera has a great international influence, and it is the quintessence of Chinese opera art. It is not a local opera born and raised in Beijing, but a "national opera" based on "Hui Opera" and "Han Opera", absorbing the essence of "Kunqu Opera", "Bangzi", "Yi Cavity" and many local minor tunes, and melting and evolving them according to the linguistic characteristics of Beijing.

Peking Opera originated in the 55th year of Qianlong, during Qianlong's 80th birthday, the four major Hui troupes originally performed in the south, spring.

Fourth, Sixi, Sanqing and Chuntai also entered Beijing to see Qianlong's 80th birthday performance, during which the four major Hui troupes and Hubei Han artists cooperated to perform the program, and integrated their respective operatic arts together.

Peking Opera originated in Beijing shortly after the Hui Troupe entered Beijing, and absorbed the characteristics of Hui Opera, Han Opera, Qin Opera, Kunqu Opera and other operas, and the main tone of the opera is Pi Huang Dialect.

Features of Peking Opera:

Peking Opera is a type of opera that is mainly formed by absorbing various local tones such as Kunqu Opera and Bangzi Dialect on the basis of the two major operas of the Hui and Han dynasties. It is characterized by Erhuang and Xipi as the main vocal cavities, and its blowing and playing music cards mainly come from Kunqu Opera. Its initial line is divided into:

The ten elements of Sheng, Dan, Purity, Ending, Chou, Vice, External, Martial, Miscellaneous, and Flow have gradually merged with the four elements of Sheng, Dan, Purity, and Ugliness that we see now.

Each of its professions has a relatively strict set of performance procedures, with its own characteristics in singing, reading and doing, showing the character traits of different characters. His performing arts pay attention to the combination of virtual and real, and transcend the space and time constraints of stage performances to the greatest extent.

Qianlong period of the Qing Dynasty. Peking Opera originated in the Qianlong period of the Qing Dynasty, and since the 55th year of Qianlong in the Qing Dynasty (1790), the four major Hui troupes of Sanqing, Sixi, Chuntai and Hechun, which were originally performed in the south, entered Beijing one after another, and cooperated with Han artists from Hubei to receive some repertoire, tunes and performance methods of Kunqu Opera and Qin dialect at the same time, and absorbed some local folk tunes, through continuous exchanges and integration, and finally formed Peking Opera.

Characteristics of Peking OperaThe origin of Peking Opera is very complicated, some people think that at the time of the Huaya dispute, the Beijing dialect of the Hua School is the predecessor of Peking Opera, and some people think that the Beijing dialect has nothing to do with Peking Opera, Peking Opera is promoted by the Hui Troupe into Beijing and the Hui Han confluence, but the unified perception of the Peking Opera industry is that Peking Opera began from the Hui Troupe entering Beijing, and the Peking Opera industry will also hold activities for the anniversary of the Hui Troupe's entry into Beijing at certain times.

The infiltration of Peking Opera originated in the Qing Dynasty, to be precise, during the Qianlong period of the Qing Dynasty.

The predecessor of Peking Opera was the Hui Troupe, and after entering Beijing, the four major Hui troupes absorbed the characteristics of some local opera genres, and were influenced by Beijing's language and customs, forming the Peking Opera as we see it now.

Peking Opera is the quintessence of our country, which has been developed for more than 200 years. When Peking Opera first appeared, it was not called Peking Opera, but was called Beijing Tune, National Opera, Peking Opera and other different titles, and the name of Peking Opera only appeared during the Guangxu period of the Qing Dynasty.

After the formation of Peking Opera, the rapid development has replaced the status of various different types of opera in the minds of the audience, Cong Gaobei Peking Opera has singing, dancing, dialogue, martial arts and other movements, which belongs to the comprehensive art.

The inheritance value 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 range 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 it to create a 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.