Puxian opera

Puxian opera

Puppet opera

Puppet opera

Nanxi

Nanxi is an early form of drama, developed from ancient traditions of , singing, and dancing during the Song Dynasty in the 12th century AD. The name means literally "Southern drama", and the form originated in the area around Wenzhou in Southern China.

Nanxi started as combinations of Song plays and local folk songs and ballads, using colloquial language and large numbers of scenes. As with Western operetta, spoken passages alternated with verses set to popular music. Professional companies of actors performed nanxi in theatres that could hold thousands of spectators. Nanxi developed into the later and more complex dramatic form known as chuanqi, and later still into kunqu.

Nanxi had seven role types, many of which were seen in later Chinese opera forms. Sheng were heroic male character and Dan heroines. Mo, Jing, Chou, Wai, and Hou were less defined roles, and actors in these role types portrayed a variety of characters in the same play. The role types of later forms of Chinese opera were made more strict, but can be seen to have their roots in Nanxi.

Due to its coarse language, rough prosody, and unsophisticated literary style, ''nanxi'' was not mentioned in contemporary historiography and had been virtually forgotten by scholars after the mid-sixteenth century Of the large numbers of Nanxi originally written, only 283 titles and 20 play texts survive.

Sources

*''Encyclopædia Britannica'' 2006. Encyclopædia Britannica Premium Service. 19 January 2006
* — Cora Agatucci

Min opera

Min opera , a.k.a. Fuzhou drama , is one of the major traditional forms in Fujian Province. It enjoys a good popularity in Fuzhou, Middle Fujian, East Fujian and North Fujian where Fuzhou dialect is spoken, as well as in Taiwan and Malay Archipelago. Having been evolving for 300 years, Min opera became fixed in the early 20th century.

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Liyuan opera

Liyuan opera is a form of Chinese opera originating in the Fujian province of the People's Republic of China.

Kunqu

Kunqu , also known as Kunju, Kun opera or Kunqu Opera, is one of the oldest extant forms of Chinese opera. It evolved from the Kunshan melody, and dominated Chinese theatre from the 16th to the 18th centuries.

History

Kunqu boasts a 600-year history and is known as the "teacher" or "mother" of a hundred operas, because of its influence on other Chinese theatre forms, including Jingju. Its emergence ushered in the second Golden Era of Chinese drama, but by the early twentieth century it had nearly disappeared, exacerbated by deliberate attempts to suppress it during the Cultural Revolution.

One of the major literary forms of the and dynasties was chuanqi drama, originating from the South. Plays that continue to be famous today, including ''The Peony Pavilion'' and ''The Peach Blossom Fan'', were originally written for the Kunqu stage. In addition, many classical Chinese novels and stories, such as ''Romance of the Three Kingdoms'', ''Water Margin'' and ''Journey to the West'' were adapted very early into dramatic pieces.

Today, Kunqu is performed professionally in seven Mainland Chinese cities: Beijing , Shanghai , Suzhou , Nanjing , Chenzhou , Yongjia County/Wenzhou and Hangzhou , as well as in Taipei. Non-professional opera societies are active in many other cities in China and abroad, and opera companies occasionally tour.

Kunqu was listed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO in 2001. Its melody or tune is one of the Four Great Characteristic Melodies in Chinese opera.

Repertoire

*''The Peony Pavilion''
*''The Peach Blossom Fan''
*''The Palace of Long Life''
*''''
*''The Western Mansion''
*''The Injustice done to Dou E''
*''''

Dramatists

*Tang Xianzu
*Kong Shangren
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*Hong Sheng
*Feng Menglong

Performers

*Yu Zhenfei
*Mei Lanfang
*Zhang Jiqing
*Wang Shiyu
*Yue Meiti
*Liang Guyin
*Cai Zhengren
*Ji Zhenhua
*Jennifer Hua Wenyi
*Qian Yi

Huju

''Huju'' is a variety of Chinese opera from the area of Shanghai. It is typically sung in the Shanghainese dialect.

It is particularly popular in Baihe, the oldest town in the of Shanghai. There are eight to ten ''huju'' troupes in the town, and many local residents hire the troupes to perform for weddings and funerals.

''Huju'' is accompanied by an ensemble of , including ''dizi'' , ''erhu'' , ''pipa'' , ''yangqin'' , and percussion. The instrumentation and style are closely related to the instrumental genre of ''Jiangnan sizhu''.

The famous Chinese composition "Purple Bamboo Melody" is adapted from ''huju''.

Sichuan opera

Sichuan opera or Chuanju is a type of Chinese opera originating in the Sichuan province in China. Today's Sichuan opera is the developed version, combining the 5 historic melodic styles. Regionally Chengdu remains to be the main home of Sichuan operas, while other influential participants include Chongqing, Guizhou, Yunnan, Hubei and Taiwan provinces.

History

Initially there were 5 distinct opera styles. The history of each style varies greatly depending on which style is being mentioned.

At least one of the opera styles began as early as the Three Kingdoms period with some form of ''Canjun opera''. During the Tang dynasty, a band of five came about in Chengdu. In the Song dynasty, the opera developed into Tsa-chu. In the Ming dynasty, the artists performed the skill in . During the reign of and emperor in the Qing dynasty, in the areas, Kunqu, Yiyang, Bangzi and Pihuang melody merged with local languages, folk customs, ditties, yang-kos and Lantern theatre in Sichuan.
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* Huqing voice
* Tanxi
* Dengdiao / Dengxi / Lantern theatre

Costumes

Depending on the style, face paint is also limited compared to other related forms. Jing characters do not appear, and the only painted face characters are those with a small white patch in the middle of the face, which indicates a slightly evil character. The face paint colors are traditionally limited to black, red, white and grey.

Xincheng opera

Xincheng opera

Nuo opera

Nuo opera

Qu opera

Qu opera

Pingju

Pingju

Jilin opera

Jilin opera

Jiangxi opera

Jiangxi opera

Huanglong opera

Huanglong opera

Errenzhuan/Bangzixi/Benbeng opera

Errenzhuan/Bangzixi/Benbeng opera

Anhui opera

Anhui opera

Shaoxing opera

Shaoxing opera is a relatively new local Chinese opera popular in the southern regions of the Yangtze River. It originated in Shengxian County , in the Shaoxing region of northeastern Zhejiang Province, which belonged to the in ancient times, so it was popularly known as ''Yueju'' . Yue opera has a history of about 800 years. It was derived from a kind of story-singing. At first, it was performed with a small drum and hardwood clappers for rhythm and later, choral and orchestral accompaniment was added. It drew some musical elements from Shao opera and subsequently formed its own characteristics.

Yue opera is noted for its lyricism, and singing is dominant in it. Its tunes are sweet and beautiful and the performance vivid and full of local color. Originally Yue opera was only performed by males and then changed to all female performances. After 1949, male and females work together. Notable actors include Yuan Xuefen, Wang Wenjuan, Xu Yulan, Jin Caifeng.

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Suzhou opera

Suzhou opera

Beijing Opera

Beijing opera is a form of traditional Chinese theatre which combines music, vocal performance, mime, dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing Dynasty court and has come to be regarded as one of the cultural treasures of China. Major performance troupes are based in Beijing and Tianjin in the north, and Shanghai in the south. The art form is also enjoyed in Taiwan, where it is known as Guoju. It has also spread to other countries such as the United States and Japan.

Beijing opera features four main types of performers. Performing troupes often have several of each variety, as well as numerous secondary and tertiary performers. With their elaborate and colorful costumes, performers are the only focal points on Beijing opera's characteristically sparse stage. They utilize the skills of speech, song, dance, and combat in movements that are symbolic and suggestive, rather than realistic. Above all else, the skill of performers is evaluated according to the beauty of their movements. Performers also adhere to a variety of stylistic conventions that help audiences navigate the plot of the production. The layers of meaning within each movement must be expressed in time with music. The music of Beijing opera can be divided into the Xipi and Erhuang styles. Melodies include arias, fixed-tune melodies, and percussion patterns. The repertoire of Beijing opera includes over 1,400 works, which are based on Chinese history, folklore, and, increasingly, contemporary life.

In recent years, Beijing opera has attempted numerous reforms in response to sagging audience numbers. These reforms, which include improving performance quality, adapting new performance elements, and performing new and original plays, have met with mixed success. Some Western works have been adopted as new plays, but a lack of funding and an adverse political climate have left Beijing opera's fate uncertain as the form enters the 21st century.




Beijing opera or Peking opera is a form of which combines music, vocal performance, mime, dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing Dynasty court and has come to be regarded as one of the cultural treasures of China. Major performance troupes are based in Beijing and Tianjin in the north, and Shanghai in the south. The art form is also enjoyed in Taiwan, where it is known as Guoju . It has also spread to other countries such as the United States and Japan.

Beijing opera features four main types of performers. Performing troupes often have several of each variety, as well as numerous secondary and tertiary performers. With their elaborate and colorful costumes, performers are the only focal points on Beijing opera's characteristically sparse stage. They utilize the skills of speech, song, dance, and combat in movements that are symbolic and suggestive, rather than realistic. Above all else, the skill of performers is evaluated according to the beauty of their movements. Performers also adhere to a variety of stylistic conventions that help audiences navigate the plot of the production. The layers of meaning within each movement must be expressed in time with music. The music of Beijing opera can be divided into the ''Xipi'' and ''Erhuang'' styles. Melodies include arias, fixed-tune melodies, and percussion patterns. The repertoire of Beijing opera includes over 1,400 works, which are based on Chinese history, , and, increasingly, contemporary life.

In recent years, Beijing opera has attempted numerous reforms in response to sagging audience numbers. These reforms, which include improving performance quality, adapting new performance elements, and performing new and original plays, have met with mixed success. Some works have been adopted as new plays, but a lack of funding and an adverse political climate have left Beijing opera's fate uncertain as the form enters the 21st century.

Etymology

"Beijing opera" or "Peking opera" is the English term for the art form; the ''Oxford English Dictionary'''s earliest record of the term is from 1953.

In China, the art form has been known by many other names in different times and places. The earliest Chinese name was a combination of the Xipi and Erhuang melodies, and was called ''Pihuang''. As it increased in popularity, its name became ''Jingxi'' or ''Jingju'', which reflected its start in the capital city, Jing, and the form of the performance, Xi. From 1927 to 1949, Beijing was known as Beiping, and Beijing opera was known as ''Pingxi'' or ''Pingju'' to reflect this change. Finally, with the establishment of the People's Republic of China, the name of the capital city was reverted to Beijing, and the formal name of Beijing theatre in mainland China was established as ''Jingju''. In Taiwan, this type of opera is known as ''Guoju'', national theatre style, reflecting over the true seat of the Chinese government.

History

Origins

It is regarded that Beijing opera was born when the Four Great Anhui Troupes came to Beijing in 1790. Beijing opera was originally staged for the court and came into the public later. In 1828, some famous Hubei troupes came to Beijing. They often jointly performed in the stage with Anhui troupes. The combination gradually formed Beijing opera's main melodies. Beijing opera is generally regarded as having fully formed by 1845. Although it is called Beijing opera , its origins are in the southern Anhui and eastern Hubei, which share the same dialect of Xiajiang Mandarin . Beijing opera's two main ; ''Xipi'' and ''Erhuang'' originated from Shaanxi but developed in Anhui and Hubei. Xipi literally means 'Western Skin Puppet Show', referring to the puppet show that is originated from Shaanxi province. Puppet Shows in China always involve singing. Much dialogue is also carried out in an archaic form of Standard Mandarin, in which Zhongyuan Guanhua dialects in Henan and Shaanxi are closest. This form of standard Mandarin is recorded in the book Zhongyuan Yinyun. It also absorbed music and arias from other operas and local Zhili musical art forms. Some scholars believe that the ''Xipi'' musical form was derived from the historic Qinqiang, while many conventions of staging, performance elements, and aesthetic principles were retained from Kunqu, the form that preceded it as court art.

Thus, Beijing opera is not actually a monolithic form, but rather a coalescence of many older forms. However, the new form also introduced its own innovations. The vocal requirements for all of the major roles were greatly reduced for Beijing opera. The Chou, in particular, rarely has a singing part in Beijing opera, unlike the equivalent role in Kunqu style. The melodies that accompany each play were also simplified, and are played with different traditional instruments than in earlier forms. Perhaps most noticeably, true acrobatic elements were introduced with Beijing opera. The popularity of Beijing opera has been attributed to the simplicity of the form, with only a few voices and singing patterns. This allowed anyone to sing the arias themselves.

Beijing opera was initially an exclusively male pursuit. The Qianlong Emperor had banned all female performers in Beijing in 1772. The appearance of women on the stage began unofficially during the 1870s. Female performers began to impersonate male roles and declared equality with men. They were given a venue for their talents when Li Maoer, himself a former Beijing opera performer, founded the first female Beijing opera troupe in Shanghai. By 1894, the first commercial venue showcasing female performance troupes appeared in Shanghai. This encouraged other female troupes to form, which gradually increased in popularity. As a result, theatre artist Yu Zhenting petitioned for the lifting of the ban after the founding of the Republic of China in 1911. This was accepted, and the ban was lifted in 1912, although male Dan continued to be popular after this period.

Beijing opera after the Chinese Civil War

After the Chinese Civil War, Beijing opera became a focal point of identity for both involved parties. When the Communist Party of China came to power in mainland China in 1949, the newly formed government moved to bring art into line with Communist ideology, and "to make art and literature a component of the whole revolutionary machine". To this end, dramatic works without Communist themes were considered subversive, and were ultimately banned during the Cultural Revolution . Among the eight model plays eventually retained during that time were five Beijing operas. Notable among these operas was ''The Legend of the Red Lantern'', which was approved as a concert with piano accompaniment based on a suggestion from Jiang Qing, wife of Mao Zedong. Performances of works beyond the eight model plays were allowed only in heavily modified form. The endings of many traditional plays were changed, and visible stage assistants in Beijing opera were eliminated. After the end of the Cultural Revolution in the late 1970s, traditional Beijing opera began to be performed again. Beijing opera and other theatrical art forms were a controversial subject both before and during the Twelfth National People's Congress in 1982. A study carried in the People's Daily revealed that over 80 percent of musical dramas staged in the country were traditional plays from the pre-Communist era, as opposed to newly written historical dramas promoting socialist values. In response, Communist party officials enacted reforms to curb liberalism and foreign influence in theatrical works.

After the retreat of the Republic of China to Taiwan in 1949, Beijing opera there took on a special status of "political symbolism", in which the Kuomintang government encouraged the art form over other forms of performance in an attempt to claim a position as the sole representative of Chinese culture. This often occurred at the expense of traditional Taiwanese opera. Due to its status as a prestigious art form with a long history, Beijing opera has indeed been studied more and received more monetary support than other forms of theater in Taiwan. However, there has also been a competing movement towards advocating native opera to differentiate Taiwan from the mainland. In September of 1990, when the Kuomintang government participated in a state-sponsored mainland cultural event for the first time, a Taiwanese opera group was sent, possibly to emphasize "Taiwaneseness".

Modern Beijing opera

During the second half of the 20th century, Beijing opera witnessed a steady decline in audience numbers. This has been attributed both to a decrease in performance quality and an inability of the traditional opera form to capture modern life. Furthermore, the archaic language of Beijing opera required productions to utilize electronic subtitles, which hampered the development of the form. The influence of Western culture has also left the younger generations impatient with the slow pacing of Beijing opera. In response, Beijing opera began to see reform starting in the 1980s. Such reforms have taken the form of creating a school of performance theory to increase performance quality, utilizing modern elements to attract new audiences, and performing new plays outside of the traditional canon. However, these reforms have been hampered by both a lack of funding and a sensitive political climate that makes the performance of new plays difficult.

In addition to more formal reform measures, Beijing opera troupes during the 1980s also adopted more unofficial changes. Some of those seen in traditional works have been called "technique for technique's sake". This has included the use of extended high pitch sequences by female Dan, and the addition of lengthier movement sections and percussion sequences to traditional works. Such changes have generally met with disdain from Beijing opera performers, who see them as ploys to gain immediate audience appeal. Plays with repetitive sequences have also been shortened to hold audience interest. New works have naturally experienced a greater freedom to experiment. Regional, popular, and foreign techniques have been adopted, including Western style makeup and beards and new face paint designs for Jing characters. The spirit of reform continued during the 1990s. To survive in an increasingly open market, troupes like the Shanghai Beijing opera Company needed to bring traditional Beijing opera to new audiences. To do this, they have offered an increasing number of free performances in public places.

There has also been a general feeling of a shift in the creative attribution of Beijing opera works. The performer has traditionally played a large role in the scripting and staging of Beijing opera works. However, perhaps following the lead of the West, Beijing opera in recent decades has shifted to a more director and playwright centered model. Performers have striven to introduce innovation in their work while heeding the call for reform from this new upper level of Beijing opera producers.

Channel CCTV-11 in mainland China is currently dedicated to broadcasting classic Chinese opera productions, including Beijing opera.

Beijing opera around the world

In addition to its presence in mainland China, Beijing opera has spread to many other places. It can be found in Hong Kong, Taiwan, and overseas Chinese communities elsewhere. Mei Lanfang, one of the most famous Dan performers of all time, was also one of the greatest popularizers of Beijing opera abroad. During the 1920s, he performed Beijing opera in Japan. This inspired an American tour in February 1930. Although some, such as the actor Otis Skinner, believed that Beijing opera could never be a success in the United States, the favorable reception of Lanfang and his troupe in New York City disproved this notion. The performances had to be relocated from the 49th Street Theater to the larger National Theater, and the duration of the tour extended from two weeks to five. Lanfang traveled across the United States, receiving honorary degrees from the University of California and Pomona College. He followed this tour with a tour in the Soviet Union in 1935.

Performers and roles

Training

Becoming a Beijing opera performer requires a long and arduous apprenticeship beginning from an early age. Prior to the 20th century, pupils were often handpicked at a young age by a teacher and trained for seven years on contract from the child's parents. Since the teacher fully provided for the pupil during this period, the student accrued a debt to his master that was later repaid through performance earnings. After 1911, training took place in more formally organized schools. Students at these schools rose as early as five o'clock in the morning for exercises. Daytime was spent learning the skills of acting and combat, and senior students performed in outside theatres in the evening. If they made any mistakes during such performances, the entire group was beaten with bamboo canes. Schools with less harsh training methods began to appear in 1930, but all schools were closed down in 1931 after the Japanese invasion. New schools were not opened until 1952.

Performers are first trained in acrobatics, followed by singing and gestures. Several performing schools, all based on the styles of famous performers, are taught. Some examples are the Mei Lanfang school, the Cheng Yanqiu school, the Ma Lianliang school, and the Qi Lintong school. Students previously trained exclusively in the art of performance, but modern performance schools now include academic studies as well. Teachers assess the qualifications of each student and assign them roles as primary, secondary, or tertiary characters accordingly. Students with little acting talent often become Beijing opera musicians. They may also serve as the supporting cast of foot soldiers, attendants, and servants that is present in every Beijing opera troupe. In Taiwan, the Ministry of National Defense of the Republic of China runs a national Beijing opera training school.

Sheng

The is the main male role in Beijing opera. This role has numerous subtypes. The is a dignified older role. These characters have a gentle and cultivated disposition and wear sensible costumes. One type of role is the , a red-faced older male. The only two roles are Guan Gong, the Chinese God of War, and , the first Song Dynasty emperor. Young male characters are known as . These characters sing in a high, shrill voice with occasional breaks to represent the voice changing period of adolescence. Depending on the character's rank in society, the costume of the ''xiaosheng'' may be either elaborate or simple. Off-stage, actors are often involved with beautiful women by virtue of the handsome and young image they project. The is a martial character for roles involving combat. They are highly trained in acrobatics, and have a natural voice when singing.

Dan

The refers to any female role in Beijing opera. roles were originally divided into five subtypes. Old women were played by , martial women were , young female warriors were , virtuous and elite women were , and vivacious and unmarried women were . One of Mei Lanfang's most important contributions to Beijing opera was in pioneering a sixth type of role, the . This role type combines the status of the with the sensuality of the . A troupe will have a young to play main roles, as well as an older for secondary parts. Four examples of famous Dans are Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun, and Xun Huisheng. In the early years of Beijing opera, all roles were played by men. Wei Changsheng, a male performer in the Qing court, developed the , or "false foot" technique, to simulate the bound feet of women and the characteristic gait that resulted from the practice. The ban on female performers also led to a controversial form of brothel, known as the , in which men paid to have sex with young boys dressed as females. Ironically, the performing skills taught to the youths employed in these brothels led many of them to become professional later in life.

Jing

The is a painted face male role. Depending on the repertoire of the particular troupe, he will play either primary or secondary roles. This type of role will entail a forceful character, so a must have a strong voice and be able to exaggerate gestures. Beijing opera boasts 15 basic facial patterns, but there are over 1000 specific variations. Each design is unique to a specific character. The patterns and coloring are thought to be derived from traditional Chinese color symbolism and divination on the lines of a person's face, which is said to reveal personality. Easily recognizable examples of coloring include red, which denotes uprightness and loyalty, white, which represents evil or crafty characters, and black, which is given to characters of soundness and integrity. Three main types of roles are often seen. These include , roles that heavily involve singing, , roles with less emphasis on singing and more on physical performance, and , martial and acrobatic roles. Indeed, most studies of Beijing opera classify the as a minor role. The name of the role is a homophone of the Mandarin Chinese word , meaning "ugly". This reflects the traditional belief that the clown's combination of ugliness and laughter could drive away evil spirits. roles can be divided into , civilian roles such as merchants and jailers, and , minor military roles. The is one of the most demanding in Beijing opera, because of its combination of comic acting, acrobatics, and a strong voice. characters are generally amusing and likable, if a bit foolish. Their costumes range from simple for characters of lower status to elaborate, perhaps overly so, for high status characters. characters wear special face paint, called , that differs from that of characters. The defining characteristic of this type of face paint is a small patch of white chalk around the nose. This can represent either a mean and secretive nature or a quick wit.

Performance elements

Beijing opera performers utilize four main skills. The first two are song and speech. The third is dance-acting. This includes pure dance, pantomime, and all other types of dance. The final skill is combat, which includes both acrobatics and fighting with all manner of weaponry. All of these skills are expected to be performed effortlessly, in keeping with the spirit of the art form.

Aesthetic aims and principles

Beijing opera follows other traditional Chinese arts in emphasizing meaning, rather than accuracy. The highest aim of performers is to put beauty into every motion. Indeed, performers are strictly criticized for lacking beauty during training. Additionally, performers are taught to create a synthesis between the different aspects of Beijing opera. The four skills of Beijing opera are not separate, but rather should be combined in a single performance. One skill may take precedence at certain moments during a play, but this does not mean that other actions should cease. Much attention is paid to tradition in the art form, and gestures, settings, music, and character types are determined by long held convention. This includes conventions of movement, which are used to signal particular actions to the audience. For example, walking in a large circle always symbolizes traveling a long distance, and a character straightening his or her costume and headdress symbolizes that an important character is about to speak. Some conventions, such as the pantomimic opening and closing of doors and mounting and descending of stairs, are more readily apparent.

Many performances deal with behaviors that occur in daily life. However, in accordance with the overriding principle of beauty, such behaviors are stylized to be presented on stage. Beijing opera does not aim to accurately represent reality. Experts of the art form contrast the principles of Beijing opera with the principle of ''Mo'', mimesis or imitation, that is found in western dramas. Beijing opera should be suggestive, not imitative. The literal aspects of scenes are removed or stylized to better represent intangible emotions and characters. The most common stylization method in Beijing opera is roundness. Every motion and pose is carefully manipulated to avoid sharp angles and straight lines. A character looking upon an object above them will sweep their eyes in a circular motion from low to high before landing on the object. Similarly, a character will sweep their hand in an arc from left to right in order to indicate an object on the right. This avoidance of sharp angles extends to three dimensional movement as well; reversals of orientation often take the form of a smooth, S-shaped curve. All of these general principles of aesthetics are present within other performance elements as well.

Staging and costumes

Beijing opera stages have traditionally been square platforms. The action on stage is usually visible from at least three sides. The stage is divided into two parts by an embroidered curtain called a ''shoujiu''. Musicians are visible to the audience on the front part of the stage. In line with the highly symbolic nature of Beijing opera, the form utilizes very few props. This reflects seven centuries of Chinese performance tradition. The presence of large objects is frequently indicated through conventions. The stage will almost always have a table and at least one chair, which can be turned through convention into such diverse objects as a city wall, a mountain, or a bed. Peripheral objects will often be used to signify the presence of a larger, main object. For example, a whip is used to indicate a horse and an oar symbolizes a boat.

The length and internal structure of Beijing opera plays is highly variable. Prior to 1949, ''zhezixi'', short plays or plays made up of short scenes from longer plays, were often performed. These plays usually center on one simple situation or feature a selection of scenes designed to include all four of the main Beijing opera skills and showcase the virtuosity of the performers. This format has become less prevalent in recent times, but plays of one act are still performed. These short works, as well as individual scenes within longer works, are marked by an emotional progression from the beginning of the play to the end. For example, the concubine in the one act play ''The Favorite Concubine Becomes Intoxicated'' begins in a state of joy, and then moves to anger and jealousy, drunken playfulness, and finally to a feeling of defeat and resignation. A full-length play usually has from six to fifteen or more scenes. The overall story in these longer works is told through contrasting scenes. Plays will alternate between civil and martial scenes, or scenes involve protagonists and antagonists. There are several major scenes within the work that follow the pattern of emotional progression. It is these scenes that are usually excerpted for later ''zhezixi'' productions. Some of the most complex plays may even have an emotional progression from scene to scene.

Due to the scarcity of props in Beijing opera, costumes take on added importance. Costumes function first to distinguish the rank of the character being played. Emperors and their families wear yellow robes, and high ranking officials wear purple. The robe worn by these two classes is called a ''mang'', or python robe. It is a costume suitable for the high rank of the character, featuring brilliant colors and rich embroidery, often in the design of a dragon. Persons of high rank or virtue wear red, lower ranking officials wear blue, young characters wear white, the old wear white, brown, or olive, and all other men wear black. On formal occasions, lower officials may wear the ''kuan yi'', a simple gown with patches of embroidery on both the front and back. All other characters, and officials on informal occasions, wear the ''chezi'', a basic gown with varying levels of embroidery and no jade girdle to denote rank. All three types of gowns have water sleeves, long flowing sleeves that can be flicked and waved like water, attached to facilitate emotive gestures. Tertiary characters of no rank wear simple clothing without embroidery. Hats are intended to blend in with the rest of the costume and will usually have a matching level of embroidery. Shoes may be high or low soled, the former being worn by characters of high rank, and the latter by characters of low rank or acrobatic characters.

Music

The accompaniment for a Beijing opera performance usually consists of a small ensemble of traditional melodic and percussion instruments. The lead melodic instrument is the ''jinghu'', a small high pitched two string spike fiddle. The second is the circular bodied plucked lute, the ''ruan''. Percussion instruments include the Daluo, Xiaoluo, and Naobo. The player of the Gu and Ban, a small high pitch drum and clapper, is the conductor of the entire ensemble. The two main musical styles of Beijing opera, ''Xipi'' and ''Erhuang'', originally differed in subtle ways. In the ''Xipi'' style, the strings of the jinghu are tuned to the keys of A and D. The melodies in this style are very disjointed, possibly reflecting the style's derivation from the high and loud melodies of the Qinqiang opera of northwestern China. It is commonly used to tell joyous stories. In ''Erhuang'', on the other hand, the strings are tuned to the keys of C and G. This reflects the low, soft, and despondent folk tunes of south-central Hubei province, the style's place of origin. As a result, it is used for lyrical stories. Both musical styles have a standard meter of two beats per bar. The two musical styles share six different tempos, including ''manban'' , ''yuanban'' , ''kuai sanyan'' , ''daoban'' , ''sanban'' , and ''yaoban'' . The ''xipi'' style also utilizes several unique tempos, including ''erliu'' , and ''kuaiban'' . Of these tempos, ''yuanban'', ''manban'', and ''kuaiban'' are most commonly seen. The tempo at any given time is controlled by a percussion player who acts as director. ''Erhuang'' has been seen as more improvisational, and ''Xipi'' as more tranquil. The lack of defined standards among performance troupes and the passage of time may have made the two styles more similar to each other today.

The melodies played by the accompaniment mainly fall into three broad categories. The first is the aria. The arias of Beijing opera can be further divided into those of the ''Erhuang'' and ''Xipi'' varieties. An example of an aria is ''wawa diao'', an aria in the ''Xipi'' style that is sung by a young Sheng to indicate heightened emotion. The second type of melody heard in Beijing opera is the fixed-tune melody, or ''qupai''. These are instrumental tunes that serve a wider range of purposes than arias. Examples include the "Water Dragon Tune" , which generally denotes the arrival of an important person, and "Triple Thrust", which may signal a feast or banquet. The final type of musical accompaniment is the percussion pattern. Such patterns provide context to the music in ways similar to the fixed-tune melodies. For example, there are as many as 48 different percussion patterns that accompany stage entrances. Each one identifies the entering character by his or her individual rank and personality.

Repertoire

The repertoire of Beijing opera includes nearly 1,400 works. The plays are mostly taken from historical novels or traditional stories about civil, political and military struggles. Early plays were often adaptations from earlier Chinese theatre styles, such as ''kunqu.'' Nearly half of 272 plays listed in 1824 were derived from earlier styles. With such a large number of plays, it is not surprising that many different classification systems have been used over time to sort them. Two traditional methods have existed since Beijing opera first appeared in China. The oldest and most generally used system is to sort plays into civil and martial types. Civil plays focus on the relationships between characters, and feature personal, domestic, and romantic situations. The element of singing is frequently used to express emotion in this type of play. Martial plays feature a greater emphasis on action and combat skill. The two types of play also feature different arrays of performers. Martial plays predominantly feature young sheng, jing, and chou, while civil plays have a greater need for older roles and dan. In addition to being civil or martial, plays are also classified as either ''daxi'' or ''xiaoxi'' . The performance elements and performers used in serious and light plays greatly resemble those used in martial and civil plays, respectively. Of course, the aesthetic principle of synthesis frequently leads to the use of these contrasting elements in combination, yielding plays that defy such dichotomous classification.

Since 1949, a more detailed classification system has been put into use based on thematic content and the historical period of a play's creation. The first category in this system is ''chuantongxi'', traditional plays that were in performance prior to 1949. The second category is ''xinbian de lishixi'', historical plays written after 1949. This type of play was not produced at all during the Cultural Revolution, but is a major focus today. The final category is ''xiandaixi'', contemporary plays. The subject matter of these plays is taken from the 20th century and beyond. Contemporary productions are also frequently experimental in nature, and may incorporate Western influences. In the second half of the 20th century, Western works have increasingly been adapted for Beijing opera. The works of Shakespeare have been especially popular. The movement to adapt Shakespeare to the stage has encompassed all forms of Chinese theatre. Beijing opera in particular has seen versions of ''A Midsummer Night's Dream'' and ''King Lear'', among others.

Film

Beijing opera and its stylistic devices have appeared in many Chinese films. It often was used to signify a unique "Chineseness" in contrast to sense of culture being presented in Japanese films. Fei Mu, a director of the pre-Communist era, utilized Beijing opera in a number of plays, sometimes within "Westernized", realistic plots. King Hu, a later Chinese film director, utilized many of the formal norms of Beijing opera in his films, such as the parallelism between music, voice, and gesture. In the 1993 film '''', by Chen Kaige, Beijing opera serves as the object of pursuit for the protagonists and a backdrop for their romance. However, the film's portrayal of Beijing opera has been criticized as one-dimensional. Beijing opera is also featured in ''Peking Opera Blues'' by Tsui Hark.

Beijing opera houses in Beijing

Fundamental to the performance and overall ambience of traditional Beijing opera is the venue. There are many restored venues in Beijing dating from the late 17th century onwards, the opera stage at Prince Gong Mansion, and Huguang Guild Hall, being among them. However, modern venues for the general operatic and theatre stage are also common, such as the , and the Chang'an Grand Theatre located on the East Chang'an Avenue is an example of modern Beijing opera theatre.

Hebei bangzi

Hebei bangzi

Henan opera

Henan opera , or Henan bangzi , is a form of Chinese opera, especially popular in Henan, Hubei, and other provinces.

Henan opera came into being during the late and early dynasties. There are four major types of Henan opera. Xiangfu tune opera is heard around Kaifeng; Yudong tune in the Shangqiu area. Yuxi tune is heard around Luoyang, and the Shahe tune around Luohe. Yudong and Yuxi are the main forms, with Yudong expressing comedy and Yuxi expressing tragedy.

One famous Henan opera performer is Chang Xiangyu.

Ballad-sing

Qinqiang or Luantan is the representative folk Chinese opera of the northwest Province of Shaanxi, China, where it was called Qin thousands of years ago. Its melodies were originated from the rural areas of ancient Shaanxi and Gansu.

The genre uses the ''bangzi'' as one of the accompanying instruments, from which it derives its other name, ''Bangzi opera''. Bangzi tune is the oldest, most affluent opera tune in China's Four Great Characteristic Melodies. Qinqiang is the representative of the Bangzi opera and the most important origin of other Bangzi operas.

Characters

There are 13 kinds of characters in Qinqiang including four kinds of "" , six kinds of "" , two kinds of "" and one kind of "" , also knowns as " 13 Tou Wangzi" .

Actors

*Wei Changsheng

Repertoire

* ''Sandixie''

Ballad-sing

Ballad-sing

Gaojia opera

Gaojia opera is a form of Chinese opera popular in Fujian province in the People's Republic of China. It is famous for its various Chou, or clown roles. The form emerged at the end of the Ming Dynasty. It was originally an improvised form that was part of a religious parade. It then developed into Songjiang drama, which featured acrobatics and a relatively simple plot. In the middle of the Qing Dynasty, it absorbed the influences of Hui opera , Beijing opera, and Yiyang music. All music accompanying Gaojia opera is in the style of southern China, and is also influenced by Liyuan opera.

Huaguxi

Huaguxi is a form of Chinese opera originating in Hunan province. It is known in China for its earthy quality, and is often referred to as the "spicy" form of Chinese opera. Huaguxi is known to have existed as early as 1695, during the Qing Dynasty. Unlike other forms of Chinese opera, Huaguxi originally had only two roles. These including the ''xiao chou'', a small male clown, and the ''xiao dan'', a vivacious young girl. The female role was played by men until women entered Chinese opera in the early 20th century. In the mid-18th century, a ''xiao shen'' role was added. This role refers to handsome young males.

Most Huaguxi plays were originally ''xiao xi'', short plays lasting an hour or less. These plays often dealt with everyday rural life. With the rise of professional Huaguxi performers and performances in the capital city of Changsha, longer plays, ''daxi'' began to be performed. These plays dealt with grander themes of social satire and class struggle. Like other forms of Chinese opera, Huaguxi is staged with very few props. Music accompanying Huaguxi reflects the Changsha dialect spoken in Hunan. It is played with instruments like the datong, the yue qin, the di zi, and the suona. Percussion instruments provide the basic tempo for the performance.

Throughout much of its history, Huaguxi could not be performed legally because of the perception that it was an obscene form of opera. It was officially recognized by the People's Republic of China in 1952, but restrictions were placed on the type of material that could be performed.

Taiwanese opera

Taiwanese opera is the only form of traditional drama known to have originated in Taiwan. The language used is a stylized combination of both literary and colloquial of . Its earliest form adopted elements of folk songs from Zhangzhou, Fujian, China. The story elements are traditionally based on folk tales of the region.

Taiwanese opera was later exported to other Min Nan-speaking areas.

In the early 1980s Taiwanese opera was brought to the television audience, with Iûⁿ Lē-hoa as its popular face. The artistic elements remained largely traditional, however.

Taiwanese opera, like other forms of Chinese opera and theater around the world, often traditionally uses cross-dressed performers , specifically women portraying men's roles in the case of Taiwanese opera.

Modern and experimental forms show some propensity for syncretism. Western instruments such as the saxophone and guitar have been used in some performances. Loose Western adaptations have included Nikolai Gogol's ''The Government Inspector'' . Perhaps due to the influence of the Taiwanese localization movement, stories set in Taiwan, as well as characters and stories, have been developed in recent years.
Taiwanese forms of the Hakka tea-picking opera show some influence.
Fans of the opera attribute its continuing relevance to a willingness of performers to adapt to modern times in terms of style and artistic diversity.

History

Origins

Taiwanese opera is the only form of traditional drama known to have originated in Taiwan, specifically the region. In the early stages, most immigrants in Yilan were from Zhangzhou, Fujian. ''Koa-á'' were story-telling ballads spoken in Min Nan. Each line could have five- or seven- characters, and every four lines constituted a paragraph.。

Performance elements

Script

There is no script in Taiwanese opera. In the past, actors were illiterate and could not use a script. A ''Hì-sian-seⁿ'' , such as a director, told the story. Before the performance he would give an outline and distribute characters..。

Characters

Originally, there are three roles in Taiwanese opera, , , and .Later, as Taiwanese opera began to incorporate more styles from other major operas, it gradually expanded to include eight major characters.

Performers and roles

Male Leads

These characters are gentle and brave.
*
*
*:Supporting actor
*
*:martial artist
is a older male lead. Old shengs have a chastity and decency disposition.Young male characters are known as .

Female Leads

In Taiwanese opera there are four subtypes in dan roles.
*
* :sorrowful female character

is a dignified older role and she is a stright arrow. Also she reveals sentiment of the affection to the children so she takes sides with her children.
siao chou

Jester

* :male jester

Costume

Stage properties and figures

Stage properties and figures are a part of dancing. Taiwanese opera are not graphic. Sometimes a chair in Taiwanese opera stands for a fence or a bridge. Rasing red flags stands for fire, rasing blue flags stands for water, and rasing black flags stands for wind.。
There are many types of figures:
*Entrances and Exits
*Pulling a Mountain
*Walking a Circle
*The Kneeling Walk
*Small,Quick Steps
*Sweeping Hair
*The Bat Jump
*The Vertigines Gesture
*The Water Sleeves

Voices

The most important in Taiwanese opera is the music for voices.

Instruments

The use of a wide range of traditional musical instruments in Taiwanese opera.

*Yehu
*Daguangxian
*Suona
*Jinghu

Performance Types

Three-Role tea-picking Opera

The three-role opera is known as the story of tea-farmer Zhang Sanlang performed by one clown and two female roles and the plot and the singing are fixed. The three-role tea-picking opera is simple and does not have official stage.They build the stage before they perform.

Cantonese opera

Cantonese opera is one of the major categories in Chinese opera, originating in southern China's . It is popular in Guangdong, Guangxi, Hong Kong, Macau, Singapore and Malaysia. Like all versions of Chinese opera, it is a , involving music, singing, martial arts, acrobatics, and acting. should not be confused with the theatre of Zhejiang.

History

There is a debate about the origins of Cantonese opera, but it is generally accepted that the opera form was imported from the northern part of China and slowly migrated to the southern province of Guangdong in late 13th century, during the late Southern Song Dynasty. In the 12th century, there was a theatrical form called "Southern style" or the Nanxi , which was performed in public theaters of Hangzhou, then capital of the Southern Song Dynasty. With the invasion of the Mongol army, , fled with hundreds of thousands of Song people into the province of Guangdong in 1276. Among these people were some ''Narm hei'' artists from the north. Thus ''narm hei'' was brought into Guangdong by these artists and developed into the earliest kind of Cantonese opera.

Many well-known operas performed today, such as ''The Purple Hairpin'' and ''Rejuvenation of the Red Plum Flower'', originated in the Yuan Dynasty, with the lyrics and scripts in . Until the 20th century all the female roles were performed by males.

Beginning in the massive waves of immigrants fled Shanghai to destinations like North Point. Their arrival boosted the Cantonese opera fanbase significantly.

Characteristics

Cantonese opera has much in common with other Chinese theatre genres. Commentators often take pride in the idea that all Chinese theatre styles are but minor variations on a pan-Chinese music-theater tradition, and that the basic features or principles are consistent from one local performance form to another. Thus, music, singing, martial arts, acrobatics and acting all feature. Most of the plots are based on Chinese history and famous and . The and of the Chinese people can be seen in the plays. Virtues like loyalty, moral, love, patriotism and faithfulness are often reflected by the operas.

Some particular features of Cantonese opera are:
# Chihng sik sin: formulaic, formalized
# Heui yih sing: abstraction of reality, distancing from reality
# Sin mihng sing: clear-cut, distinct, unambiguous, well-defined
# Jung hahp ngaih seuht yihngsik: a composite or synthetic art form
# Sei gung ng faat ; ''jyutping'': sei3 gung1 ng5 faat3) : the four skills and the five methods, a simple codification of the basic skills and techniques of acting and singing.

The "four skills" and "five methods" are a simple codification of the areas of special training for theatre performers, and also stand as something of a metaphor for the most well-rounded and thoroughly trained performers. The "four skills" apply to the whole spectrum of vocal and dramatic training: singing, acting and movement, delivery of the "speech-types" and martial and "gymnastic skills," while the five methods are categories of techniques associated with specific body parts: hands, eyes, body, hair, feet or walking techniques.

Significance

Other than being simply a form of entertainment, it can carry messages or lessons, which was particularly important before widespread formal education. The government often used theatre to promote the idea of ''be loyal to the emperor and love the kingdom'' . Because of this, the theatre was often examined by the government. If the underlying message was not considered beneficial, the theatre would be banned.

As time progresses, fewer and fewer performance houses are also left to preserve the art, an example is Hong Kong's Sunbeam Theatre,which remains one of the last facility dedicated to the Cantonese genre.

Types of play

There are two types of Cantonese opera plays: ''Mou'' and ''Man'' . ''Mou'' plays emphasize war, the characters usually being generals or warriors. These works contain action scenes and involve a lot of weaponry and armour. ''Man'' plays tend to be gentler and more elegant. Scholars are the main characters in these plays. Water sleeves are used extensively in ''man'' plays to produce movements reflecting the elegance and tenderness of the characters; all female characters wear them. In ''man'' plays, characters put a lot of effort into creating distinctive facial expressions and gestures to express their underlying emotions.

Musical instruments

Cantonese instrumental music was called ''ching yam'' prior to the establishment of the in 1949. Cantonese instrumental tunes have been used in Cantonese opera, either as incidental instrumental music or as fixed tunes to which new texts were composed, since the 1930s.

The use of instruments in Cantonese opera is influenced by both western and eastern cultures. The reason for this is that was one of the earliest places in China to establish trade relationships with the western civilizations. In addition, Hong Kong was under heavy western influence when it was a British colony. These factors contributed to the observed western elements in Cantonese opera.

For instance, the use of erhu , saxophones, guitars and the congas have demonstrated how diversified the musical instruments in Cantonese operas are.

The musical instruments are mainly divided into melodic and percussive types.

Traditional musical instruments used in Cantonese opera include wind, strings and . The winds and strings encompass gaohu, erhu, yehu, yangqin, pipa and dizi, while the percussion comprises many different drums and cymbals. The percussion controls the overall rhythm and pace of the music, while the gaohu leads the orchestra.

The instrumental ensemble of Cantonese opera is comprised of two sections: the melody section and the percussion section. The percussion section has its own vast body of musical materials, generally called ''loh gu dim'' or simply ''loh gu''. These 'percussion patterns' serve a variety of specific functions.

To see the pictures and listen to the sounds of the instruments, visit
and .

Music

Cantonese opera pieces are classified either as "theatrical" or "singing stage" . The theatrical style of music is further classified into western music and Chinese music . While the "singing stage" style is always Western music, the theatrical style can be Chinese or western music. The "four great male vocals" were notable exponents of the "single stage" style in the early 20th century.

The western music in Cantonese opera is accompanied by , woodwinds, brass plus electrified instruments. Lyrics are written to fit the play's melodies, although one song can contain multiple melodies, performers being able to add their own elements. Whether a song is well performed depends on the performers' own emotional involvement and ability.

Roles

There are six set roles:

# man4 mou5 saang1
# siu2 saang1
# faa1 daan3
# yi6 faa1
# cau2 saang1
# mou5 saang1

Costumes

Costumes correspond to the theme of the play and indicate the character of each role.

As mentioned above, each is associated with particular costumes. The water sleeves of ''Mun'' plays can be attached to the waist or the sides of the breast areas. Costumes can be single or double breasted.

Costumes also indicate the status of the character. Lower-status characters, such as females, wear less elaborate dress, which those of higher rank have more decorative costumes.

Makeup

Applying makeup for Cantonese opera is a long and specialised process. One of the most common styles is the "white and red face": an application of white foundation, with red around the eyes and on the cheeks. The eyebrows are sometimes elongated. Lipstick is usually bright red.

Actors are given temporary facelifts by holding the skin up with a ribbon on the back of the head. This lifts the corners of the eyes, producing an authoritative look.

Each role has its own style of make-up: the clown has a large white spot in the middle of his face, for example. A sick character has a thin red line pointing upwards in between his eyebrows. Aggressive and frustrated character roles often have a "ying hong jee" in between the eyebrows.

Strong male characters wear "hoi1 min4" makeup. Each character's makeup has its own distinct characteristics, with symbolic patterns and coloration.

Hairstyle, hats and helmets

Hats and helmets signify social status, age and capability: scholars and officials wear black hats with wings on either side; generals wear helmets with pheasant feathers; soldiers wear ordinary hats, and s wear s. Queens or princesses have jewelled helmets. If a hat or helmet is removed, this indicates the character is exhausted, frustrated, or ready to surrender.

Hairstyles can express a character's emotions: warriors express their sadness at losing a battle by swinging their ponytails. For the female roles, buns indicated a maiden, while a married woman has a Dai tow.

Frequently used terms

*Pheasant feathers/Antennae
:These are attached to the helmet in 武 plays, and are used to express the character's skills and expressions. They are worn by both male and female characters.
*Water Sleeves
:These are used for expressive effect by both males and females in 文 plays.
*Hand Movements
:Hand and finger movements reflect the music as well as the action of the play. Females hold their hands in the elegant "" form.
*Round Table/Walking
:A basic feature of Cantonese opera, the walking movement is one of the most difficult to master. Females take very small steps and lift the body to give a detached feel. Male actors take larger steps, which implies traveling great distances.
*Go Hur
:These are black boots with high white soles worn by males, which can impede walking.
*Gwou Wai
:This is a movement in which two performers move in a cross-over fashion to opposite sides of the stage.
*Tuir Mok
:In this movement, two performers walk in a circle facing each other and then go back to their original positions.
*Lai saan and Wun Sou
:These are the basic movements of the hands and arms.
*Jurt Bo/Choot Bo
:This is a gliding effect used in walking.
*Siu Tiu
:Most common in 武 plays, the actor stamps before walking.
*Fay Tuir
:A crescent kick.
*Hair-flinging/"Headbanging"
:A circular swinging of the ponytail, expressing sadness and frustration.
*Chestbuckle/ Flower
:A flower-shaped decoration worn on the chest. A red flower on the male signifies that he is engaged.
*Horsewhip
:Performers swing a whip and walk to imitate riding a horse.
*Sifu
:Literally, ''master'', this is a term for experienced performers and teachers.

Major artists

Major Cantonese opera artists include:

Four Great Male Vocals :

Development in Hong Kong

To intensify education in Cantonese opera, the Cantonese Artists Association of Hong Kong started to run an evening part-time certificate course in Cantonese opera training with assistance from the Hong Kong Academy for Performing Arts in 1998. In 1999, the Association and the Academy further conducted a two-year daytime diploma programme in performing arts in Cantonese opera in order to train professional actors and actresses. Aiming at further raising the students' level, the Association and the Academy have launched an advanced course in Cantonese opera in the next academic year.

In recent years, the Hong Kong Arts Development Council has given grants to Love and Faith Cantonese opera Laboratory to conduct Cantonese opera classes for children and youths. The Leisure and Cultural Services Department has also funded the International Association of Theatre Critics to implement the "Cultural Envoy Scheme for Cantonese Opera" for promoting traditional Chinese productions in the community.

Speech types

Commentators draw an essential distinction between sung and spoken text, although the boundary is a troublesome one.
Speech-types are of a wide variety: one is nearly identical to standard conversational Cantonese, while another is a very smooth and refined delivery of a passage of poetry; some have one form or another of instrumental accompaniment while others have none; and some serve fairly specific functions, while others are more widely adaptable to variety of dramatic needs.

Huangmei opera

Huangmei opera or Huangmei tone originated as a form of rural folksong and dance that has been in existence for the last 200 years and possibly longer. The music is performed with a pitch that hits high and stays high for the duration of the song. It is unique in the sense that it does not sound like the typical rhythmic Chinese opera. In the 1960s Hong Kong counted the style as much as an opera as it was a music genre. Today it is more of a traditional performance art with efforts of revival in mainland China, Hong Kong, and Taiwan.

History

China

About the only thing certain is that this art came from China. It became a part of the operatic genre at the Anqing region of southwestern Anhui province. It first appeared as a simple drama of song and dance at the Huangmei county in the Lanyang plateau in southeastern Hubei province a hundred years ago before it became the operatic form with costumes and additional roles. The music was simple and short.

Huangmei opera did not involve the traditional opera gestures which often used the sleeves and step movements. It was also not performed on stage initially but as a kind of roving troupe performance.

Hong Kong

The theme of Huangmei opera began to expand with its initial introduction in Hong Kong via the 1959 film ''The Kingdom and the Beauty'' . The art form is believed to have come from the massive wave of immigrants from mainland China to Hong Kong in the 1950s. The film that peaked the music genre was the 1963 ''Love Eterne''. The audience was attracted by the rewritten music style which combined both Chinese and Western musical instruments The tempo was also livelier and faster than the traditional opera. The skilled adaptation of the actors in their roles and the chorus helped the audience to understand the emotions and context of the story. The music mainly gave the film an exotic and rural charm. During this period, many Huangmei films were made, evolving into various forms and combinations, which later included wuxia sword fights. Because the genre have such a heavy association with romance films like ''Love Eterne'', it is sometimes preferred that the singing be done with a male and a female pair.

There have only been a handful of big name Huangmei tone artists in Hong Kong. Betty Loh Ti and Ivy Ling Po, Tsin Ting are some examples.

Costumes

Huangmei costumes are generally less extravagant compared to the other Chinese opera branches. There is usually a greater emphasis on the singing than the display. In Hong Kong there is not necessarily a requirement to wear any traditional Chinese opera attire. An example is the cantopop artist Jenny Tseng singing Huangmei style music with Ivy Ling Po in a concert.

Clapper opera

Clapper opera