The Prosperous Drama Stage

(Pic: Nao Tian Gong, Ji Gu Ma Cao)

Chinese drama went through more than 800 years as one of the important parts of traditional Chinese arts. Everything about drama, from the Zaju of Jin and Yuan Dynasty to the Chuanqi of Ming and Qing Dynasty; from prosperity of Kunqu Yiyangqiang to entering into Beijing of the four Anhui opera troupes; from the birth of Beijing Opera to the gold age of the “national quintessence,” was directly related to Xuannan. Xuannan couldn’t be omitted in the 200-year history of Beijing Opera. Xuannan fostered generations of artistic masters as Cheng Changgeng, Tan Xinpei, Yang Xiaolou, Mei Lanfang and Ma Lianliang. Hundreds of famous actors and actresses lived in the quiet lanes of Xuannan. Countless opera troupes represented by Fu Lian Cheng produced thousands of excellent actors and actresses, who supported the artistic stage with near one hundred years of history. Numerous theatres provided the stages for Beijing Opera, excellent and unique musical instrument, property and costume industries enriched the Beijing Opera, as well as the Beijing Opera Research Institute promoted academic study of Beijing Opera. Xuannan is worthy of “homeland of Beijing Opera.”

In the 55^th year of Qianlong Period of Qing Dynasty (1790), Gao Langting, the actor from Anhui Province lead the Sanqing Anhui Opera Troupe to celebrate the 80^th birthday of Gaozong (Hongli) of Qing. After this performance, they settled down in Beijing. Later many Anhui opera troupes came to Beijing, including the most famous four troupes of Sanqing, Sixi, Chuntai and Hechun, which were called as “four Anhui opera troupes” at that time. In long-term performances, they continuously borrowed merits from Qinqiang, Handiao, Kunqu and Jingqiang opera. After years of evolution, Beijing Opera was created.

History of Beijing Opera

I.                     Period of Pregnancy

Combination of Anhui Opera and Qinqiang

In early Qing Dynasty, Kunqu and Jingqiang (Yiyangqiang) prevailed in Beijing. After the mid Qianlong Period, Kunqu gradually declined, Jingqiang took the stage in replacement of Kunqu. In the 45^th year of Qianlong Period (1780), Wei Changsheng, the actor of Qinqiang, came to Beijing from Sichuan. Wei joined Shuangqing Troupe and performed Qinqiang Gun Lou and Bei Wa Jin Fu. He made a significant stir in Beijing by his beautiful appearance, sweet sound, sound tone and delicate movement in Gun Lou. Shuangqing Troupe was praised as the “No. 1 in the Capital.” Since then, Jingqiang began to fall, the six famous Jingqiang opera troupes of Dacheng, Wangfu, Yuqing, Yuqing, Cuiqing and Baohe were forgotten by audiences, whose actors joined Qinqiang troupes to make a living. In the 50^th year of Qianlong Period (1785), the Qing Government publicly banned Qinqiang and drove Wei Changsheng out of Beijing, by the reason that Wei’s performances had offended public morals.

In the 55^th year of Qianlong period (1790), Sixi, Qixiu, Nicui, Chuntai, Hechun, Sanhe, Songzhu, Jinyu and Dajinghe troupe performed at Dazhalan after Sanqing Anhui opera troupe settled down in Beijing (Hanjiatai Lane). Among them, Sanqing, Sixi, Hechun and Chuntai enjoyed the highest fame, for which they were called as “four Anhui opera troupes.”

When the Chuntai Troupe came to Beijing should start from Mi Yingxian, the famous actor of Handiao, became the backbone of Chuntai Troupe. It proved that Chuntai Troupe came to Beijing earlier than Sixi and Hechun. Chuntai Troupe lived in Baishun Lane.

 Sixi Troupe came to Beijing in early Jiaqing Period. They could perform both Anhui opera and Kunqu, and was famous for their Kunqu opera. Therefore, there was such a saying, “A new Peach Blossom Fan prospered Sixi Troupe.” The troupe lived in Shaanxi Lane.

  Hechun Troupe was organized in the 8^th year of Jiaqing Period (1804) on Litieguai Oblique Street. The Troupe was good at martial drama, and was disbanded in the 13^th year of Daoguang Period (1853). The four Anhui opera troupes were different in performance style, each had its own advantages, thus there was another saying: Sanqing’s complete text, Sixi’s Kunqu, Hechun’s martial drama and Chuntai’s youth.” Besides Anhui opera, the four troupes also performed Kunqiang, Chuiqiang, Sipingdiao and Bangziqiang, really a combination of all operas. They absorbed the merits of all operas and integrated them into Anhui opera, and were favored by the audiences in Beijing, thanks to their perfect actors and actresses group, as well as their abundant opera lists. After Wei Changsheng was forced out of Beijing, Qinqiang declined severely. Qinqiang actors and actresses joined Anhui opera troupes, which stimulated the integration of Anhui opera and Qinqiang. In this process, Anhui opera troupes adopted the singing skill of Qinqiang and delicate performance, together with the transplantation of scenarios, which laid foundation for further development of Anhui opera.

Combination of Anhui opera and Hanju opera

Hanju opera prevailed in Hubei, its Er Huang and Xi Pi were relating to Anhui opera. Anhui opera and Hanju had extensive mingled before they came to Beijing. After Mi Yingxian, the famous Hnaju actor came to Beijing in late Qianlong Period, Li Liu—the famous Hanju laosheng, Wang Honggui, Yu Sansheng and Long Deyun—the xiaosheng came to Beijing in early Daoguang Period (1821), and joined Chuntai and Hechun to perform. Mi Yingxian was famous for playing Guang Yu, the performances of red Jing roles of Cheng Changgeng, the head of Sanqing Troupe were taught by Mi Yingxian. Li Liu was good at Zui Xie Xia Man Shu and Sao Xue; Wang Honggui was good at Rang Chengdu and Ji Gu Ma Cao; Long Deyun was good at Yuan Men She Ji and Huang He Lou; Yu Sansheng was good at Ding Jun Shan, Si Lang Tan Mu, Dang Jian Mai Ma and Peng Bei for his pure and thick sound, beautiful aria, perfect civil and martial performances. Hanju actors combined the tone and rhythm, performance and scenarios with Anhui opera, and perfected and enriched Anhui opera, as well as similarized the singing method and spoken parts with Beijing accent, making Anhui opera easier to be accepted by people in Beijing. In the 25^th year of Daoguang Period (1845), all famous troupes were led by laosheng actors. The combination of Anhui opera and Hanju opera stimulated the second communication of Hubei Xipidiao and Anhui Erhuangdiao. The integration of Anhui, Qinqiang and Hanju opera laid foundation for the birth of Beijing Opera.

II. Period of Formation (Pic: The Thirteen Famous Actors and Actresses in Tongzhi and Guangxu Period)

From the 20^th year of Daoguang Period to the 10^th year of Xianfeng Period (1840—1860), Beijing Opera came into being after combination of Anhui opera, Qinqiang and Handiao, and adoption of the merits of Kunqu and Jingqiang, which symbolized by three phenomena. First, the tones and styles were complete and rich, exceeding Anhui, Qinqiang and Handiao operas. The arias were mixed with Banqiang style and Qupai style. Voice and tune were mainly Er Huang and Xi Pi; Second, roles were basically complete; Third, a batch of plays were composed; Forth, Cheng Changgeng, Yu Sansheng and Zhang Erkui were representatives in the period of formation, being named as “three laosheng masters” and “three winners,” i.e. “No. 1 Scholar” Zhang Erkui, “bangyan” Cheng Changgeng, “tanhua” Yu Sansheng. Each of them had their own characteristics in singing and performance, and has contributed in creating the main tunes—Xi Pi and Er Huang, dramatic form, as well as spoken part and pronunciation with mandarin characteristics. Among the first generation of Beijing Opera actors and actresses, Lu Shengkui, Xue Yinxuan, Zhang Rulin, Wang Jiuling were laosheng players; Long Deyun and Xu Xiaoxiang were xiaosheng players; Hu Xilu, Luo Qiaofu and Mei Qiaoling were dan players; Yang Mingyu and Liu Gansan were chou players; Hao Lantian and Tan Zhidao were laodan players; Zhu Damazi and Ren Hualian were jing players, all of them had their distinct creations on enriching the voice, the tune and the performance of their trades. Mei Qiaoling, the next head of Sixi Troupe, broke strict division of qingyi and huadan, and created a new way for the performance of dan roles.

The Thirteen Famous Actors and Actresses in Tongzhi and Guangxu Period is a color painting depicting famous actors and actresses in the history of Beijing Opera, painted by Shen Rongpu, the folk painter in late Qing Dynasty. He borrowed the style of the Thirteen Famous Actors and Actresses of Jingqiang Opera painted by He Shikui, the painter in mid Qing Dynasty, chose and depicted thirteen actors and actresses in Beijing opera during the Tongzhi and Guangxu Period (1860—1890) by gongbi and dense colors, which showed the excellent skills of the painter. The painting was bought by Zhu Fuchang from the Society of Evolution in a book store in the 32^nd year of the Republic of China (1943), and was published after reduction, together with the Biography of the Thirteen Famous Actors and Actresses in Tongzhi and Guangxu Period.

III. Period of Maturity

From 1883 to 1918, Beijing Opera developed into the period of maturity from the period of formation, the representatives at that time included the “post laosheng masters”—Tan Xinpei, Wang Guifen and Sun Juxian. Tan Xinpei inherited the artistic merits of Cheng Changgeng, Yu Sansheng and Zhang Erkui and pushed Beijing Opera forward into maturity after creation and development. He absorbed merits from Kunqu, Bangzi, Dagu, and qingyi, hualian, laodan of Beijing Opera and combined them into singing, then created the Tan School with his unique singing and performance style, and formed the situation that “no tune did not follow Tan school.” After 1920s, Yu Shuyan, Yan Jupeng, Gao Qingkui and Ma Lianliang developed different artistic schools on the basis of Tan School. Wang Guifen, whose teacher was Cheng Changgeng, was compared to “tiger’s howl and dragon’s roar” for powerful and solemn singing and plain tune. He was praised as the “reborn Changgeng” for his imitation could not be distinguished from the authentic. Sun Juxian, being appointed as a skillful fighter, was good at Beijing Opera and often performed in the theatre, then being taught by Cheng Changgeng after 36 years old. His sound was sonorous and flexible. His spoken parts were not limited to Huguang and Zhongzhou accent, usually in the pronunciation of Mandarin which sounded natural and friendly. His performance was vivid and lifelike. The “three post laosheng masters” had their own emphases with different artistic styles. Upon overall weighing, Tan Xinpei was good at both civil and martial performance, artistic accomplishment and development of Beijing Opera far exceeded Wang Guifen and Sun Juxian. In Guangxu Period, Tan Xinpei was named as the “King of Actors,” his status could be compared with Cheng Changgeng. In the 10^th year of Xianfeng Period (1861), Beijing Opera was invited into the imperial court. From the 6^th of lunar May to the end of the month, Sanqing Troupe, Sixi Troupe, Shuangkui Troupe and an unknown troupe (Beijing Opera) performed respectively. At the 50^th birthday of Cixi in the 9^th year of Xianfeng Period, 18 actors including Zhang Qilin, Yang Longshou, Bao Fushan, Cai Fulu and Yan Fuxi were selected to perform and teach the eunuchs. Since then, the Shengping Division being charge of performance had to choose famous actors each year until the 3^rd year of Xuantong Period (1911). More than 150 famous actors and actresses in sheng, dan, jing, chou, including Tan Xinpei, Yang Yuelou, Sun Juxian, Chen Delin, Wang Lengxian, Yang Xiaolou, Yu Yuqin, Zhu Wenying, Wang Yaoqing, Gong Yunfu, Mu Fengshan, Qian Jinfu etc., went to the imperial palace. Because Cixi liked Beijing Opera, in addition to famous actors frequently performed in the imperial palace, Beijing Opera became stronger and stronger. Meanwhile, Beijing Opera was performed every day in Guangdelou, Sanqingyuan, Qingleyue, Zhongheyuan and Wenmingyuan Theatre. The leading situation of Beijing Opera came into being. In the mature period of Beijing Opera, besides the “three post laosheng masters,” there were Xu Yintang and Jia Honglin in the trade of sheng; Yu Jusheng and Yang Longshou in martial sheng; He Jiashan, Huang Runfu, Jin Xiushan, Qiu Guixian and Liu Yongchun in jing; Wang Lengxian, De Junru and Lu Huayun in xiaosheng; Chen Delin, Tian Guifeng, Wang Yaoqing and Zhu Wenying in dan; Wang Changlin, Zhang Hei, Luo Baisui, Xiao Changhua and Guo Chunshan in chou. In this period, the emergence of dan roles, the neck-to-neck situation of dan and sheng came into being. Yu Jusheng became the first independent martial sheng, being called as the “originator of martial sheng.” The above famous actors developed and matured their singing after inherited, by which they improved Beijing Opera to a new stage.

IV. Period of Prosperity

Since 1917, excellent Beijing Opera actors surged, with different schools prospered. Beijing Opera developed from the period of maturity to the period of prosperity, the representatives in this period were Yang Xiaolou, Mei Lanfang and Yu Shuyan.

In 1927, Shuntian Times launched selection of famous dan actors of Beijing Opera. Readers voted, Mei Lanfang in Tai Zhen Wai Zhuan, Shang Xiaoyun in Mo Deng Jia Nv, Cheng Yanqiu in Hong Fu Zhuan, and Xun Huisheng in Dan Qing Yin were awarded as the “Four Big Famous Dans.” The appearance of “Four Big Famous Dans” symbolized the prosperity of Beijing Opera. They created distinct artistic styles and developed into “four schools” featured by Mei Lanfang’s elegance, Shang Xiaoyun’s prettiness and sturdiness, Cheng Yanqiu’s depth and mildness, as well as Xun Huisheng’s gentleness and charm; they created the dan-oriented pattern of Beijing Opera. Yang Xiaolou—martial sheng developed performance of martial sheng to a new stage after Yu Jusheng and Yang Yuelou, being honored as the “Great Master of National Opera” and the “Prince of Martial sheng.” Yu Shuyan, Gao Qingkui, Yan Jupeng and Ma Lianlian were called as the “Four Great Xushengs” in 1920s. At that time, Shi Huibao, Wang Fengqing and Guan Dayuan were excellent shengs, too. At the end of 1930s, Yu Shuyan, Yan Jupeng, Gao Qingkui retired from stage, Ma Lianliang, Tan Fuying, Xi Xiaobo and Yang Baosen was called as the “Four Great Xushengs.” Meng Xiaodong, the xusheng actress who followed the artistic style of Yu Shuyan, was of perfect artistic accomplishment.

In the autumn of 1936, Beijing Opera enthusiasts from middle schools, universities and colleges in Beijing wrote to many newspapers, proposing to select young actors of Beijing Opera. Ye Longzhang, the President of Fuliancheng Society, and Jin Dazhi, the President of 《立言报》discussed and agreed to publish notice on the newspaper. The newspaper office dealt with the votes from all social ranks, published the number of votes day by day, and invited several people from the Yunshi Society for supervision. The regulated voting period was half a month, the votes were counted when time was due. The principals from China Drama School and Fuliancheng Society, as well as people from Current Affairs Newspaper, Colloquialism Current Affairs Newspaper, Beijing Evening, the Drama examined the votes on the site. Li Shifang from Fuliancheng Society obtained about 10,000 votes and was awarded as the “Chairman of the Young Actors.” Wang Jinlu was awarded as the Champion of sheng, Ye Shichang as the runner-up; Mao Shilai as the champion of dan, and Song Dezhu as the runner-up; Qiu Shirong as the champion of jing, and Zhao Deyu as the runner-up; Zhan Shifu as the champion of chou, and Yin Jinzhen as the runner-up. After selection, Fuliancheng Society held celebration meeting at Hufang Bridge, and held coronating ceremony in Huale Theatrea inside Xianyukou in the evening, when Li Shifang and Yuan Shihai played Ba Wang Bie Ji.

After the young actors voting, the Liyan Newspaper held to elect Li Shifang, Zhang Junqiu, Mao Shilai and Song Dezhu as the “Four Small Famous Dans,” who collaborated to perform Bai She Zhuan and Si Wu Hua Dong for celebration in Chang’an and Xinxin Theatre.

Numerous schools and countless talents were another symbol of the prosperity of Beijing Opera. In this period, besides Yang (Xiaolou), Mei (Lanfang), Shang (Xiaoyun), Cheng (Yanqiu), Xun (Huisheng) School, there were also Xiao (Cuihua), Song (Dezhu) and Zhang (Junqiu) School in dan; there were Yu (Shuyan), Gao (Qingkui), Yan (Jupeng), Ma (Lianliang), Xi (Xiaobo), Yang (Baosen), new Tan (Fuying) School in laosheng; Jin (Shaoshan), Hou (Xirui), Hao (Shouchen) and Qiu (Shenrong) School after 1950s in jing; Jiang (Miaoxiang), Ye (Shenglan) School in xiaosheng; Gong (Yunfu) and Li (Duokui) School in laodan; Ye (Shengzhang) School in chou. At that time, there were many artists of Beijing Opera, such as Wang Fengqing, Shi Huibao, Wang Youchen, Li Hongchun, Tan Xiaopei, Li Wanchun, Li Shaochun and Gao Shenglin in sheng; Yan Lanqiu, Xu Biyun, Zhu Qinxin, Zhao Tongshan, Xue Yanqin, Xin Yanqiu, Zhang Eyun, Jin Shaomei, Bi Yunxia, Qin Xuefang, Wang Yurong, Yan Huizhu, Tong Zhiling, Liang Xiaoluan, Wu Suqiu, Zhao Yanxia and Du Jinfang in dan; Jin Zhongren, Ru Fulan, Cheng Jixian in xiaosheng; Guo Chunshan, Ci ruiquan, Ma Fulu and Zhang Chunhua in chou.

Collection Place of Theatrical Circle（Pic.: Layout of Famous Actor/Actress’s Former Residence, Former Residence 1, 2, 3）

There was a proverb in the theatrical circle of Beijing, “Human being does not depart with road, tiger does not depart with mountain, actors and actresses never depart with Hanjiatan.” For more than 200 years, the theatrical circle combined with each other and formed theatrical families. As time went, Dazhalan, Chunshu, Guangnei, Niujie Street, Taoran Pavilion and Tianqiao became the collection place of theatrical circle, where numerous theatres, opera troupes, musical instruments, costume shops emerged, as well as famous artists, masters and shops were fostered.

Theatrical Circle Guild (Pic: Theatrical Circle Trade Union)

The Theatrical Circle Guild was an organization for people in theatrical circle in Beijing. After Kangxi Period of Qing, it was renamed for several times, as Jingzhong Temple, ZhengLe Yuhua Association, Beijing Threatrical Circle Public Benefit Association and Beiping Theatrical Circle Guild.

Jingzhong Temple—The organization of drama actors and actresses in Beijing in late Qing Dynasty established in Jingzhong Temple at Dongcaoshi in Tongzhi Period of Qing, thus being named as Jingzhong Temple. In mid Guangxu Period, it was moved to the Huiji Temple in the south of Liangshidian Street outside Qianmen. Cheng Changgeng, Liu Gansan, Xu Xiaoxiang, Yang Yuelou, Wang Jiuling, Yu Jusheng and Tan Xinpei headed the Temple (The head could only be selected from laosheng actors originally). After Yu Yuqin, Tian Jiyun, the huadan of Hebei Bangzi, and Shi Xiaofu, the qingyi of Beijing Opera once headed the Temple. Troupe organization and actor/actress invitation, birth, support, death and burial in poor actor/actress’s family and other public benefit affairs were all dealth with by the Temple. In case of significant events, the head called for intermediaries to judge publicly. The Internal Affairs Division set up the General Affairs Division to manage the Jingzhong Temple, appointed banner as the secretary to publish decrees. In case the head of the Jingzhong Temple encountered significant matters, he/she should appeal to the secretary.

Zhengle Yuhua Association—Tian Jiyun, Yang Guiyun and Yu Yuqin initiated in 1912 to replace Jingzhong Temple. The Association was formally set up in 1914, Tan Xinpei was recommended to be the President and Tian Jiyun to be the Vice President. The Association arranged a specific person to deal with issues concerning the actors/actresses’ welfares. The fund was raised from each squad, i.e. each seat was charged for one copper coin. Having established, the Association organized the theatrical circle to hold No-Benefit Disaster Relieving Performance for Hubei in the First Stage Theater. The Association was disbanded in 1928.

Beijing Theatrical Circle Public Benefit Association—Fifty people including Xu Deyi, Hao Shouchen, Hou Xirui, Ye Chunshun, Zhu Wenying, Wang Changlin and Wang Qinnong initiated in 1928 to replace Zhengle Yuhua Association. The Association was located at No. 34, Yingtaoxie Street. In 1936, Beiping Municipal Government required it to be reorganized for the Association had not registered.

Beiping Theatrical Circle Guild—The Guild was formally established in Jul of 1936. Fifteen members including Yang Xiaolou, Shang Xiaoyun, Yu Lianliang, Xun Huisheng, Cheng Yanqiu, Mei Lanfang, Yu Shuyan, Tan Fuying, Ma Lianliang, Gao Qingkui and Wang Youchen were voted to act as the directors. Other 15 people including Zhou Rui’an, Hou Xirui and Cheng Jixian were voted to be the alternate directors. In 1945, the Theatrical Circle Guild was reorganized again, Shang Xiaoyun was elected to be the Chairman of the Executive Council, Shen Yubin and Chen Shaolin were elected as the Vice Chairman of the Executive Council. Soon after, Shang Xiaoyuan requested to resign because of frequent performances, Shen Yubin took over the position. Wang Yaoqing and Xiao Changhua acted as the supervisors. From the Jingzhong Temple to the Theatrical Circle Guild, the organization’s name and principals were often changed, but the guild regulations were never changed. Guild regulations were the rules the members must abide by: Members shall not lure the star actor/actress or scene away from the troupe; Member shall not spoil the solidarity of the troupe; Members shall not refuse to perform before the performance starts; Members shall not stir up trouble, dissolve into an undue laughter, play tricks on others or make mistakes in performance. Anybody in violation of the guild regulations will be “dismissed from the theatrical circle.” In the second half of 1947, the Theatrical Circle Guild conducted re-election, and was renamed as the Beijing Opera Guild. Ye Shengzhang acted as the new President, Shen Yubin as the Vice President, Li Hongchun, Xiao Shengxuan, Ye Shengchang, Bai Yunsheng and Sheng Yucai acted as the Executive Directors. Soon after, Ye Shengzhang was arrested for the Guild refused to organize volunteer performance to welcome Zhang Daofan, the Parliament Representative against Beiping Government.