Peking Opera was formed in Beijing about 200 years ago mainly on the basis of Hui (of Anhui Province) and Han (of Hubei Province) operas, but also absorbing some good points from other local operas, such as Kunqu and Shaanxi types. The latter half of the 19th century and the early of 20th century were an important period in the development of Peking Opera. China then had over 1,000 traditional Peking Opera pieces, of which about 400 were frequently performed. Most of the plots were taken from historical episodes, folk legends, classical novels and fairy tales.
During the development, Peking Opera gradually formed an unique style in singing, dancing, music, characters, performing skills and costumes, and to a certain extent influenced other types of Chinese opera. It has often been introduced abroad as a representative type of China’s traditional operas.
Unlike Western opera which mostly has only singing and not dance, ballet which only dance but not singing, or straight plays with only dialogue, Beijing opera is a comprehensive art, mixing the four performing techniques of singing, dialogue, mime and acrobatics with facial make up and costume, but little scenery or props. Performance of Peking Opera is entirely different from that of modern drama and film, which stress realism. It represents very fluid changes in time or space by means of symbols or symbolic gestures. Although there is not a single stage property in the above scene, the audience is helped to ”see” the door, house, tables, chairs, etc.
Usually a dialogue, singing and acting follow these rules: singing is always used to express people’s moving feelings or when the opera plot reaches a critical moment; acting and singing are simultaneously used to fully express people’s inner world; dialogue is used to tell ordinary plot turns and the background of story. Of the four performing techniques of Peking Opera, dialogue is most suitable for the expression of a person’s gift of expression, quick-wit and humor. That is why a clownish character always stresses dialogue.
Body postures and gestures in Peking Opera originate from life but are artistically enhanced. In the foot movement, for instance, in the case of female character role, the body is always kept erect, the walk is smooth and fluid, with very short steps and hands often hidden in sleeves. All these movements imitate those of ancient Chinese women. Acrobatics is used to represent fights, together with some prop weapons when necessary.
(Source: ancienthistory.mrdonn.org)
