The Reform of Peking Opera under the Communists

Abstract

Among all dramatic and operatic forms in China, Peking Opera is perhaps the most popular one, and has been enjoyed by the people for more than a hundred years. The name “Peking,” however, does not really suggest the origin of this opera. Its Chinese name is p'i-huang, or erh-huang, which does indicate the origin of the opera. The word “p'i” in Chinese means “tunes,” and the character “huang” refers to one or two districts located in Hupeh province (the other name “erh-huang” means “two Huangs”) where this kind of music first originated, although the district of Huang-kang is generally believed to be the birthplace of this opera. Apparently this new kind of music soon spread to other districts of Hupeh, as well as to the adjacent provinces including Anhwei. The popularity of this new opera form encouraged and justified professional organisations, and troupes brought the opera to Peking, then the capital city of the Manchu (Ch'ing) dynasty. However, credit went to the Four Great Anhwei Troupes for their role in establishing this opera in the capital during the waning years of the Ch'ing period. The patronage of official circles, especially the royal clans in the Manchu court, helped tremendously in gaining fame and position for this new opera form. The Empress Dowager, Tz'u-hsi, so enjoyed this opera form that she ordered private theatres built in the palaces for her own enjoyment. (One of such theatres is still standing in the Summer Palace today.) As a result, the new operatic form was given a new name, ching-hsi (“Capital Opera”). And since Peking was the capital then, it was nicknamed the “Peking Opera” which subsequently has become the recognised name for it.