Peking Opera
Address ： Shanghai Peking Opera Company
Address ： Shanghai Peking Opera Company
Protecting Organization：
Shanghai Peking Opera Company
Introduction：
A Tianjin pihuang troupe performed at the Mantingfang Tea Garden in Shanghai in 1863.
Peking Opera troupes came to Shanghai, bringing in a theatrical genre acceptable to both Northern and Southern audiences.
The name “Peking Opera” (jingju) first appeared in Shun Pao, a local newspaper in Shanghai, on March 2, 1876. It was later generally recognized across the country.
In Shanghai, the Peking Opera continued to blend other artistic features and gradually shaped an artistic style called “ Shanghai style,” which is different from those of opera schools of Beijing and other places.
Shanghai blazed the trail of the director-centered system of Peking Opera and saw the emergence of a generation of representative artists of Shanghai-style Peking Opera, including Zhou Xinfang and Gai Jiaotian.
The Shanghai Peking Opera Company took the lead to launch reforms in 1982. This move helped a number of creative plays and selected troupes win national awards, including "National Stagecraft Quality Projects" and awards from the China Art Festival.
The Revenge of Prince Zi Dan was performed overseas, bringing Peking Opera, a national treasure of China, to the world stage.
Details：
Peking Opera
The Peking Opera was formerly known as huiban, or Anhui troupes, in the Jiangnan region in the early Qing Dynasty. The Anhui troupes went out of the Yangtze River basin primarily along two paths: one is going northward to Beijing, and the other going southward to Shanghai. During the Peking Opera Reform Movement in the late Qing Dynasty and early Republic of China period, some Peking Opera artists in Shanghai, influenced by Western concepts of theater, absorbed the elements of modern drama and adopted a realistic performing approach to staging many contemporary-costume plays reflecting democratic and revolutionary thoughts. This novel practice enabled the performance of Peking Opera to shift from the traditional elegant style toward a more life-oriented, personalized style. In the 1920s, Shanghai saw the emergence of a few representative performing artists of Shanghai style, including Zhou Xinfang, Gai Jiaotian, the Four Famous Dan (female role) Actors in South China, the Famous Jing (painted-face male role) Actors in Jiangnan and the Famous Chou (male clown role) Actors in Jiangnan. These artists inherited the fine traditions of their predecessors, ushering the performance of Shanghai-style Peking Opera into a new stage in terms of portrayal of characters, representation of plot, rich “formulae” and getting closer to life. Shanghai-style Peking Opera’s performance does not differ absolutely from that of traditional Peking Opera art in terms of virtuality, exaggeration and dance, though it lays more emphasis on realistic, vivid portrayal of characters and emotions, with distinct local and era-specific features. In terms of comprehensive stagecraft, Shanghai-style Peking Opera also boasts distinct cultural features, including an excellent theatre-going environment, elaborate stage design and advanced theater management. All these have facilitated competition in the performance market and greatly expanded the audience coverage of Peking Opera.
*The above information is subject to the official release by the venue, and this platform is for reference only.
Protecting Organization
Shanghai Peking Opera Company
Introduction
A Tianjin pihuang troupe performed at the Mantingfang Tea Garden in Shanghai in 1863.
Peking Opera troupes came to Shanghai, bringing in a theatrical genre acceptable to both Northern and Southern audiences.
The name “Peking Opera” (jingju) first appeared in Shun Pao, a local newspaper in Shanghai, on March 2, 1876. It was later generally recognized across the country.
In Shanghai, the Peking Opera continued to blend other artistic features and gradually shaped an artistic style called “ Shanghai style,” which is different from those of opera schools of Beijing and other places.
Shanghai blazed the trail of the director-centered system of Peking Opera and saw the emergence of a generation of representative artists of Shanghai-style Peking Opera, including Zhou Xinfang and Gai Jiaotian.
The Shanghai Peking Opera Company took the lead to launch reforms in 1982. This move helped a number of creative plays and selected troupes win national awards, including "National Stagecraft Quality Projects" and awards from the China Art Festival.
The Revenge of Prince Zi Dan was performed overseas, bringing Peking Opera, a national treasure of China, to the world stage.
Details
Peking Opera
The Peking Opera was formerly known as huiban, or Anhui troupes, in the Jiangnan region in the early Qing Dynasty. The Anhui troupes went out of the Yangtze River basin primarily along two paths: one is going northward to Beijing, and the other going southward to Shanghai. During the Peking Opera Reform Movement in the late Qing Dynasty and early Republic of China period, some Peking Opera artists in Shanghai, influenced by Western concepts of theater, absorbed the elements of modern drama and adopted a realistic performing approach to staging many contemporary-costume plays reflecting democratic and revolutionary thoughts. This novel practice enabled the performance of Peking Opera to shift from the traditional elegant style toward a more life-oriented, personalized style. In the 1920s, Shanghai saw the emergence of a few representative performing artists of Shanghai style, including Zhou Xinfang, Gai Jiaotian, the Four Famous Dan (female role) Actors in South China, the Famous Jing (painted-face male role) Actors in Jiangnan and the Famous Chou (male clown role) Actors in Jiangnan. These artists inherited the fine traditions of their predecessors, ushering the performance of Shanghai-style Peking Opera into a new stage in terms of portrayal of characters, representation of plot, rich “formulae” and getting closer to life. Shanghai-style Peking Opera’s performance does not differ absolutely from that of traditional Peking Opera art in terms of virtuality, exaggeration and dance, though it lays more emphasis on realistic, vivid portrayal of characters and emotions, with distinct local and era-specific features. In terms of comprehensive stagecraft, Shanghai-style Peking Opera also boasts distinct cultural features, including an excellent theatre-going environment, elaborate stage design and advanced theater management. All these have facilitated competition in the performance market and greatly expanded the audience coverage of Peking Opera.
*The above information is subject to the official release by the venue, and this platform is for reference only.
