When Peking Opera was at its peak, what year was the heyday of Peking Opera

The four famous Dans (Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun, Xun Huisheng) and the Four Little Famous Dans (Li Shifang, Zhang Junqiu, Mao Shilai, Song Dezhu, performed two performances of "The Legend of the White Snake" at the Beijing Xinxin Grand Theater, and the four of them played a fold that they are good at, Song Dezhu played "Jinshan Temple", Mao Shilai played "Broken Bridge", Li Shifang played "Childbirth Bowl", Zhang Junqiu played "Sacrifice Tower", each showed their strengths and had a strong social impact. Since then, the four people have been called the four little names by the masses). In the early twenties of the twentieth century, many Peking Opera performers competed to compile this drama to meet the audience's appreciation requirements, and generally performed a large opera, also known as a single play, such as the whole "Xunyang Tower" and the whole "Yutang Chun".

Mei Lanfang's costume dramas were also very famous at that time, such as "Luoshen", "Daiyu Funeral Flowers", "Magu Offering Birthday", "Heavenly Maiden Scattered Flowers" and so on.

With the completion of the Rongchun Society and the Chinese Opera College, Chinese Peking Opera has been established.

The twenties and thirties were all the rage.

There is some controversy in the theoretical community about the heyday of Peking Opera. The first heyday of Peking Opera was during the Tongzhi and Guangxu periods of the Qing Dynasty. The second heyday of Peking Opera was in the 20s and 40s of the 20th century. The third heyday of Peking Opera was in the 50s of the 20th century.

During the Tongzhi and Guangxu years of the Qing Dynasty. Soon after the formation of Peking Opera, it ushered in its first prosperous period, which was in the Tongzhi and Guangxu years of the Qing Dynasty. At that time, a group of outstanding Peking Opera performers appeared, and at this time they aroused the love of the court officials.

Gong Yin's generous material conditions have promoted the maturity of its Yifeng Slow Fool technique. In the 20s-40s of the 20th century. At the beginning of the 20th century, the new trend of social thought greatly promoted the development of Peking Opera art, and the prosperity of Peking Opera during this period was marked by the emergence of many schools of Zhu Gui, such as Mei Shangcheng Xun, Yu Yan Gao Ma and Jin Hao Hou Xiao.

The founders of each genre had a considerable number of repertoire, so this period was also a prosperous period for Peking Opera literature. In the 50s of the 20th century. In 1949, the People's Republic of China was founded, and the whole country showed a renewed appearance.

Peking Opera has thus ushered in its artistic spring. After more than ten years of development, around 1959, its artistic life reached its third peak. The prosperity of this period was marked by a strong cast and a complete echelon.

The introduction of excellent repertoire such as "The Legend of the White Snake", "Jiang Xianghe", "Mu Guiying in Charge", and "Wild Boar Forest" also pushed the development of Peking Opera literature to a peak.

Over the years, a large number of outstanding Hui hail performers of Peking Opera have emerged, showing a prosperous situation of various genres, developing from maturity to heyday, and the representative figures of this period are Yang Xiaolou, Mei Lanfang, and Yu Shuyan.

2. Due to the extinction of the elegant cultural tradition advocated by the literati in the 20th century, Peking Opera reached its heyday. The "Four Famous Dans" stand out and are an important symbol of Peking Opera's prosperity. They created their own distinctive artistic styles, forming the dignified and elegant Mei Lanfang, Shang Xiaoyun's pretty and robust, Cheng Yanqiu's deep and euphemistic, and Xun Huisheng's delicate and soft "four major schools", creating a pattern of Dan on the Peking Opera stage.

After Yu Jusheng and Yang Yuelou, Wusheng Yang Xiaolou developed the performing arts of Peking Opera Wusheng to a new height, and was praised as "the master of national opera" and "the master of martial arts". Among the old students, Yu Shuyan, Gao Qingsui Zhikui, Yan Jupeng, and Ma Lianliang were called the "Four Great Mustaches" in the 20s. In the same period, Shi Huibao, Wang Fengqing, Guan Dayuan, etc. are also outstanding talents in Shengxing.

The history of the development of Peking Opera:

In the 55th year of Qianlong of the Qing Dynasty (1790), four Hui opera troupes from southern China, the Sanqing Class, the Sixi Troupe, the Hechun Troupe, and the Chuntai Troupe (known as the Four Great Hui Troupes) came to Beijing one after another. The first Hui class to enter Beijing was the "Sanqing Class" which mainly sang the "Erhuang" vocal cavity, and because of its rich vocal cavity and repertoire, it gradually overwhelmed the Qin dialect that was prevalent in Beijing at that time. Many actors in the Qin cavity class were transferred to the Hui class, forming a fusion of the Hui and Qin cavities.

Subsequently, three other Hui classes: "Sixi Class", "Chuntai Class" and "Hechun Class" also came to Beijing, so that Kunqu Opera, which had been popular for many years, gradually declined, and many Kunqu Opera actors also transferred to Hui Class. Beijing opera.

During the Daoguang period of the Qing Dynasty (around 1828), Hubei actors entered Beijing and brought Han tunes (Chu tunes, Xipi tunes), and many Han tune artists joined the Hui class and performed on the same stage with the Hui class, forming the confluence of Xipi and Erhuang, forming the so-called "Pihuang opera". At this time, the Pihuang opera formed in Jingshi was influenced by the pronunciation and tone of Beijing, and had the characteristics of "Jingyin".

Later, because they often performed in Shanghai, Shanghainese called this kind of Pihuang opera with Beijing characteristics "Peking Opera", also called "Peking Opera". Later, the Northern Expedition was successful, the whole country was unified, Beijing was renamed Beiping, and "Peking Opera" was renamed "Ping Opera". Due to the rapid development of Pingju, its artistic level was among the best in Chinese opera, and later became popular throughout China, and modern scholar Qi Rushan even believed that Pingju was the essence of traditional Chinese drama, so Pingju was also called "national opera".

Peking Opera, also known as Peking Opera, is one of the genres of Chinese opera. Peking Opera was formed in Beijing in the mid-19th century, integrating Hui opera and Han opera, and absorbing the advantages of Qin dialect, Kunqu opera, Bangzi, Yiyang dialect and other arts. After the formation of Peking Opera, it achieved unprecedented prosperity in the Qing Dynasty court.

The tone of Peking Opera is dominated by Xipi and Erhuang, mainly accompanied by huqin, gongs and drums, etc., and is regarded as the quintessence of China. In 2010, Peking Opera was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity.

The name of Peking Opera began to be seen in the "Declaration" in the second year of Guangxu in the Qing Dynasty (1876), and there were titles such as Pi Huang, Er Huang, Huang Cavity, Beijing Tune, Peking Opera, Ping Opera, National Opera, etc., in the 55th year of Qianlong of the Qing Dynasty (1790), the four major Hui troupes of Anhui entered Beijing and passed through the Kunqu Opera, Han Opera, Yiyang, Random Bullet and other operas in the Beijing Opera Circle.

After 50 or 60 years of integration, it has evolved into Peking Opera, which stands out from more than 300 opera genres across the country, and is the top three Chinese opera academies (Peking Opera is the top of the list) along with Henan Opera and Yue Opera. It is the largest type of opera in China.

Peking Opera is a comprehensive performing art. That is, singing (singing), reading (reading white), doing (acting), fighting (martial arts), and dancing (dance) as a whole, and the story is narrated, the characters are portrayed, and the expression is expressed through the performance means of the program"Joy, anger, sorrow, joy, shock, fear, sorrow"Feelings. Roles can be divided into:

Sheng (men), Dan (women), Jing (men), and ugly (both men and women) are the four major trades. The characters are divided into loyalty and treachery, beauty and ugliness, good and evil. Each image is vivid and lifelike.

Peking Opera [1] (Beijing Opera), also known as Ping Opera [2] and Peking Opera, is the most influential type of opera in China[3], with Beijing as the center and throughout the country. Since the 55th year of Qianlong in the Qing Dynasty [1790], the Sanqing, Sixi, Chuntai, and Hechun troupes that had been performing in the south entered Beijing one after another, and they cooperated with Han 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 spread throughout the country and has a wide influence, and is known as the "top list" of Chinese opera and the "national opera[5]".

It has become an important means to introduce and disseminate traditional Chinese culture.

Since the 55th year of Qianlong in the Qing Dynasty (1790), the four major Hui troupes of Sanqing, Sixi, Chuntai, and Hechun, which had been performed 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 first appeared in the Ming Dynasty, and the earliest predecessor was Hui Opera, and then these people gradually entered Beijing, and then carried out cultural exchanges, and then created their own unique opera, which is Peking Opera, and now Peking Opera also belongs to the world's intangible cultural material heritage.

In the 55th year of Qianlong in the Qing Dynasty (1790), the four Hui Tune troupes of Sanqing, Sixi, Chuntai and Hechun, which originally performed in the south, successively entered Beijing to perform, cooperated with Han tune artists from Hubei, influenced each other, and accepted some repertoire, tunes and performance methods of Kunqu Opera and Qin dialect, and absorbed some folk tunes, which gradually integrated and evolved, and developed into Peking Opera.