Chinese Theaters

China has a rich tradition of theater that dates back thousands of years. Chinese theater
includes a wide range of performance styles, including opera, puppetry, shadow play,
and acrobatics.

One of the most popular forms of Chinese theater is Peking Opera, also known as Beijing
Opera. Peking Opera is a highly stylized form of theater that combines singing, acting, dancing,
and acrobatics. It originated in the late 18th century and became popular in the Qing dynasty
(1644-1912). Peking Opera features colorful costumes, elaborate makeup, and unique
musical instruments, such as the suona, a type of traditional Chinese horn.

Another popular form of Chinese theater is Yueju Opera, also known as Shaoxing Opera.
Yueju Opera originated in the late Ming dynasty (1368-1644) and became popular in the late
Qing dynasty. It is a type of musical drama that features singing, acting, and dancing. Yueju
Opera is known for its delicate and graceful movements, as well as its use of traditional
Chinese instruments, such as the erhu and pipa.

Chinese puppetry, or xi qin, is a traditional form of theater that uses hand puppets, rod
puppets, and marionettes. It is often performed during festivals and celebrations and tells
stories of historical events and mythical creatures. Shadow play, or pi ying xi, is another
traditional form of theater that uses puppets made of leather or paper that are projected onto
a screen. Shadow play is often accompanied by music and storytelling.

Acrobatics, or zhuaji, is another popular form of Chinese theater that dates back to the Han
dynasty (206 BC-220 AD). Chinese acrobatics involves a wide range of physical skills, such as
balancing, juggling, and contortion. It is often performed as part of a larger theatrical
performance, such as a Peking Opera or Yueju Opera.

Origins of Chinese Theaters

The origins of Chinese theater and opera can be traced back thousands of years to the early
dynasties of China. One of the earliest forms of Chinese theater was the zaju, which was
popular during the Yuan dynasty (1271-1368). The zaju was a type of musical drama that
featured singing, dancing, and acting. It often told stories of love, adventure, and historical
events.

During the Ming dynasty (1368-1644), the zaju evolved into the kunqu opera, which became
one of the most refined and sophisticated forms of Chinese opera. The kunqu opera
featured intricate singing and dancing, as well as elaborate costumes and makeup. It was
performed in royal courts and became popular among the literati.
In the Qing dynasty (1644-1912), the kunqu opera was further developed into various regional
styles, including Peking Opera and Yueju Opera. Peking Opera, which originated in Beijing,
combined elements of the kunqu opera with local folk art forms, such as acrobatics and martial
arts. It became the most popular form of Chinese opera and was performed throughout China
and other parts of the world.

Yueju Opera, which originated in the eastern province of Zhejiang, was known for its
graceful and delicate movements, as well as its use of traditional Chinese instruments, such as
the erhu and pipa. It became popular among the middle class and was performed in teahouses
and public theaters.

Over the centuries, Chinese theater and opera continued to evolve and adapt to changing
cultural and social contexts. Today, Chinese theater remains a vibrant and dynamic art form that
continues to be celebrated and enjoyed by people all over the world.

Emotions Conveyed

The emotions felt when listening to the music of Chinese operas can vary depending on the
specific opera, scene, and individual interpretation. However, there are some common emotions
that are often associated with Chinese opera music.

One of the most common emotions felt when listening to Chinese opera music is a sense of
nostalgia and longing. Many Chinese operas feature themes of love and loss, and the music
often conveys a sense of yearning and melancholy.

Another emotion that is often conveyed through Chinese opera music is passion and intensity.
Many operas feature scenes of conflict and drama, and the music can be powerful and
emotional, evoking feelings of anger, excitement, and determination.

Chinese opera music can also evoke a sense of spirituality and transcendence. Many operas
draw on traditional Chinese myths and legends, and the music can create a sense of mystery
and wonder.

Overall, the music of Chinese operas is rich and complex, and it can evoke a wide range of
emotions and feelings. Whether it is a sense of nostalgia, passion, spirituality, or something else
entirely, Chinese opera music has the power to move and inspire listeners.

Types of Instruments Used

The following are the types of musical instruments used in Chinese Theaters:

● Stringed Instruments
 ● Percussion Instruments
● Wind Instruments
● Plucked Instruments
● Bowed Instruments

Stringed Instruments

Stringed instruments are a type of musical instrument that produce sound by vibrating strings
that are stretched between two points. In Chinese theater and opera, stringed instruments are
an important part of the musical accompaniment, providing melodic and harmonic support to the
vocal performances.

There are several types of stringed instruments used in Chinese theater, including:

1. Erhu: The erhu is a two-stringed fiddle that is often considered one of the most
important instruments in Chinese music. It has a distinctive sound that is often used to
convey a sense of melancholy or longing.

2. Pipa: The pipa is a four-stringed lute that is played with a variety of techniques, including
plucking and strumming. It is a versatile instrument that can be used to create both
melodic and percussive sounds.

3. Guzheng: The guzheng is a plucked zither that has a long history in Chinese music. It
has a distinctive sound that is often used to create a sense of tranquility and calm.

4. Ruan: The ruan is a plucked instrument that is similar to the pipa, but with a rounder
body and a softer, more mellow sound. It is often used to create a sense of warmth and
intimacy.

These stringed instruments are often played with a variety of techniques, including bowing,
plucking, and strumming. They are an essential part of Chinese theater and opera music,
adding depth, emotion, and texture to the performances.

Percussion Instruments

Percussion instruments are a type of musical instrument that produce sound by being struck,
shaken, or scraped. In Chinese theater and opera, percussion instruments are an important part
of the musical accompaniment, providing rhythm and energy to the performances.

There are several types of percussion instruments used in Chinese theater, including:
 1. Drums: Drums are one of the most common percussion instruments used in Chinese
theater. They come in a variety of sizes and shapes and are often used to create a
steady beat or rhythm.

2. Gongs: Gongs are large, flat metal discs that are struck with a mallet to produce a deep,
resonant sound. They are often used to signal the beginning or end of a performance or
to create a dramatic effect.

3. Cymbals: Cymbals are thin, circular metal plates that are clashed together to create a
sharp, ringing sound. They are often used to create accents or to highlight specific
moments in the performance.

4. Wooden clappers: Wooden clappers are a type of percussion instrument that are made
by clapping two pieces of wood together. They are often used to create a sharp,
rhythmic sound that can be heard over the other instruments.

5. Bells: Bells are a type of percussion instrument that produce a clear, high-pitched tone
when struck. They are often used to add a sense of clarity and purity to the music.

These percussion instruments are often played together in a rhythmic ensemble, creating a
powerful and dynamic sound that is an essential part of Chinese theater and opera music. They
add energy, excitement, and drama to the performances, helping to bring the stories and
characters to life.

Wind Instruments

Wind instruments are a type of musical instrument that produce sound by vibrating air that is
blown into them. In Chinese theater and opera, wind instruments are an important part of the
musical accompaniment, providing melody, harmony, and texture to the performances.

There are several types of wind instruments used in Chinese theater, including:

1. Dizi: The dizi is a bamboo flute that has a high-pitched, airy sound. It is often used to
create a sense of serenity and tranquility in the music.

2. Suona: The suona is a double-reed horn that is often used in traditional Chinese music.
It has a loud, brassy sound that is often used to create a sense of excitement and
drama.

3. Sheng: The sheng is a mouth organ that consists of a series of bamboo pipes. It has a
unique, breathy sound that is often used to create a sense of warmth and intimacy.

These wind instruments are often played with a variety of techniques, including tonguing,
vibrato, and bending. They are an essential part of Chinese theater and opera music, adding
depth, emotion, and color to the performances. The combination of these wind instruments with
other types of instruments creates a unique and distinctive sound that is instantly recognizable
as Chinese music.

Plucked Instruments

Plucked instruments are a type of musical instrument that produce sound by plucking strings
that are stretched across a resonating chamber. In Chinese theater and opera, plucked
instruments are an important part of the musical accompaniment, providing melody, harmony,
and rhythm to the performances.

There are several types of plucked instruments used in Chinese theater, including:

1. Pipa: The pipa is a four-stringed lute that is played by plucking the strings with a
plectrum. It has a versatile sound that can be used to create both melodic and
percussive sounds.

2. Guzheng: The guzheng is a plucked zither that has a long history in Chinese music. It
has a large number of strings that are plucked with the fingers to create a wide range of
sounds.

3. Ruan: The ruan is a plucked instrument that is similar to the pipa, but with a rounder
body and a softer, more mellow sound. It is often used to create a sense of warmth and
intimacy.

These plucked instruments are often played with a variety of techniques, including arpeggios,
tremolo, and glissando. They are an essential part of the Chinese theater and opera music,
adding depth, emotion, and texture to the performances. The combination of these plucked
instruments with other types of instruments creates a unique and distinctive sound that is
instantly recognizable as Chinese music.

Bowed Instruments

Bowed instruments are a type of musical instrument that produce sound by drawing a bow
across strings that are stretched across a resonating chamber. In Chinese theater and opera,
bowed instruments are an important part of the musical accompaniment, providing melody,
harmony, and texture to the performances.

There are several types of bowed instruments used in Chinese theater, including:

1. Erhu: The erhu is a two-stringed fiddle that is played by drawing a bow across the
strings. It has a unique sound that is often used to create a sense of sadness or
melancholy in the music.
 2. Jinghu: The jinghu is a high-pitched two-stringed fiddle that is often used in Chinese
opera music. It has a bright, piercing sound that is used to create a sense of drama and
excitement.

3. Gaohu: The gaohu is a small, high-pitched fiddle that is often used in Chinese chamber
music. It has a sweet, singing tone that is used to create a sense of intimacy and
warmth.

These bowed instruments are often played with a variety of techniques, including vibrato,
glissando, and pizzicato. They are an essential part of the Chinese theater and opera music,
adding depth, emotion, and color to the performances. The combination of these bowed
instruments with other types of instruments creates a unique and distinctive sound that is
instantly recognizable as Chinese music.

Training

The training of actors in Chinese theater and opera is a rigorous and demanding process that
typically begins at a young age. It involves a combination of physical training, vocal training, and
dramatic training, as well as a deep understanding of Chinese culture, history, and tradition.

Physical training is an important part of the actor's training, as it helps them to develop the
strength, flexibility, and control needed to perform the demanding physical movements and
gestures that are a hallmark of Chinese theater and opera. This training may include practices
such as martial arts, acrobatics, and dance.

Vocal training is also a crucial part of the actor's training, as Chinese theater and opera require
a high level of vocal control and technique. Actors must be able to project their voices over the
sounds of the musical accompaniment and convey a wide range of emotions and moods
through their vocal performance. Vocal training may include practices such as singing
exercises, breathing techniques, and speech training.

Dramatic training is another important aspect of an actor's training in Chinese theater and
opera. Actors must be able to convey complex characters and storylines through their physical
movements, vocal performance, and facial expressions. This requires a deep understanding of
dramatic theory, as well as intensive rehearsal and performance experience.

Who was Mei Lanfang?

Mei Lanfang (1894-1961) was a famous Chinese actor and singer who is widely regarded as
one of the greatest performers in the history of Chinese theater and opera. He was known for
his mastery of the dan (female) roles in Beijing opera, and his performances were noted for their
beauty, grace, and sensitivity.
Mei Lanfang was born into a family of Beijing opera performers and began studying the art form
at a young age. He quickly developed a reputation as a prodigy, and by the age of 18 he was
already a celebrated performer. Throughout his career, he continued to refine his skills and
push the boundaries of the art form, introducing new techniques and styles that would influence
generations of performers to come.

One of Mei Lanfang's most notable contributions to Chinese theater and opera was his
development of the "Mei school" of acting. This style emphasized a naturalistic approach to
performance, focusing on subtlety, restraint, and emotional depth. It contrasted with the more
stylized and exaggerated approach that was prevalent in traditional Beijing opera.

Mei Lanfang's fame eventually spread beyond China, and he became an international
ambassador for Chinese culture. He performed in Europe, the United States, and other parts of
the world, and his performances were praised for their beauty, grace, and technical mastery. He
also helped to introduce Western audiences to Chinese theater and opera, and his work
inspired many Western artists and performers.

Today, Mei Lanfang is remembered as a cultural icon in China and a master of his art. His
legacy continues to influence Chinese theater and opera, and his contributions to the
development of the art form are celebrated around the world.

Xipi and Erh-Huang

Xipi and Erh-Huang are two sub-genres of the traditional Chinese opera genre, known as "Xi-
Qu" or "Peking Opera".

Xipi: Xipi is a sub-genre of Peking Opera that is known for its lively, energetic and fast-paced
style. It features a variety of percussion instruments, such as the drum, cymbals, and gongs,
which help to create a rhythmic beat that drives the performance forward. Xipi performances are
often characterized by acrobatic movements and martial arts-style fighting scenes. The music is
typically bold, dramatic, and highly melodic, with the singers making use of techniques such as
vibrato and falsetto to create a sense of emotional intensity.

Erh-Huang: Erh-Huang is another sub-genre of Peking Opera that is known for its lighter and
more comedic style. It features a smaller ensemble of instruments, such as the bamboo flute,
lute, and two-stringed fiddle. Erh-Huang performances often include humorous and witty
dialogue, and the music is characterized by a light and playful melody. The singers in Erh-
Huang performances often employ a high-pitched, nasal singing style, which is used to create a
sense of humor and lightheartedness.

Both Xipi and Erh-Huang are important subgenres of Peking Opera, and they reflect the
diversity and richness of traditional Chinese theater and opera. While they differ in their style,
tone, and mood, they share a common commitment to artistic excellence and emotional
expression, and they continue to be celebrated and performed throughout China and the world.

The Difference

Xipi and Erh-Huang are two sub-genres of traditional Chinese opera, which have distinct
differences in terms of their style, tone, and presentation.

Style: Xipi is known for its energetic, fast-paced, and dramatic style, with a focus on martial arts-
style fighting scenes and acrobatic movements. Erh-Huang, on the other hand, is known for its
lighter and more comedic style, with a focus on humor and witty dialogue.

Instruments: Xipi typically features a larger ensemble of instruments, including percussion

instruments such as drums, cymbals, and gongs, as well as wind and stringed instruments. Erh-
Huang, on the other hand, typically features a smaller ensemble of instruments, such as the
bamboo flute, lute, and two-stringed fiddle.

Singing: The singing style in Xipi is characterized by bold, dramatic, and highly melodic vocals,
often employing techniques such as vibrato and falsetto to convey emotional intensity. In Erh-
Huang, the singing style is often high-pitched, nasal, and used to create a sense of humor and
lightheartedness.

Themes: Xipi often portrays stories of military heroes, historical figures, and legendary myths,
while Erh-Huang often portrays stories of everyday life, love, and family.

In summary, Xipi and Erh-Huang are two distinct sub-genres of traditional Chinese opera, with
different styles, musical instruments, singing techniques, and themes. While both are important
components of traditional Chinese theater and opera, they offer audiences different types of
experiences and emotions.

Orchestra

The Peking Opera orchestra typically consists of a small ensemble of musicians (typically 8)
who play a variety of traditional Chinese instruments. The exact composition of the orchestra
may vary, but typically includes the following eight musicians:

Banhu (also called Huqin): A two-stringed fiddle played with a bow, used to play melodic lines
and create a variety of emotional effects.

Jinghu: A high-pitched, two-stringed fiddle similar to the banhu, often used to play fast, virtuosic
passages.
Sanxian: A three-stringed plucked instrument, similar to a lute or banjo, used to provide
rhythmic accompaniment and melodic support.

Pipa: A four-stringed plucked instrument, similar to a guitar, used to play melodic lines and
create various sound effects.

Dizi: A bamboo flute with a distinctive, breathy tone, used to play melodies and solos.

Suona: A double-reed instrument similar to an oboe, used to provide powerful and piercing
melodic lines.

Sheng: A mouth-blown instrument with a set of vertical pipes, used to create complex
harmonies and atmospheric sound effects.

Percussion: The percussion section typically includes a variety of instruments, including the
drum (naobo), cymbals (bo), and gongs (luo), which are used to provide rhythmic
accompaniment and dramatic punctuation.

"Ta-lo" and "Siao-lo" are not specific instruments in the Peking Opera Orchestra, but rather
vocalizations that are used to set the rhythm and pitch for the start of a performance.

"Ta-lo" is a rhythmic syllable that is chanted by the musicians to establish the tempo of the
piece. It is typically followed by a pitch-setting phrase called "Siao-lo," which is sung by a
vocalist to establish the key of the piece. Together, these vocalizations help to synchronize the
musicians and set the stage for the rest of the performance.

After the "Ta-lo" and "Siao-lo" vocalizations, the Peking Opera Orchestra will typically begin to
play a prelude or overture, which sets the mood and introduces the main themes of the
performance. The instruments and melodies used in the overture will vary depending on the
specific piece being performed, but they will often feature virtuosic solos and intricate rhythms to
showcase the skills of the musicians.

In some Peking Opera performances, the skin drum (also known as the "naobo") or the kettle
drum (also known as the "daluo") may be used to start the performance instead of the "Ta-lo"
and "Siao-lo" vocalizations.

The skin drum and kettle drum are both percussion instruments in the Peking Opera Orchestra,
and they are often used to add dramatic impact and emphasis to the music. The skin drum is a
cylindrical drum made of animal skin stretched over a wooden frame, and it is played with
drumsticks to produce a deep, resonant sound. The kettle drum is a large, bowl-shaped drum
with a rounded top and a narrow waist, and it is played with padded mallets to produce a rich,
mellow tone.
When used to start a Peking Opera performance, the skin drum or kettle drum may be played in
a rhythmic pattern to signal the start of the piece and create a sense of anticipation for the
audience. This technique is often used in more dramatic or intense pieces to emphasize the
importance of the upcoming performance.

The Conductor

In Peking Opera, the role of conductor is not the same as in Western classical music. Instead of
a conductor directing the musicians with a baton, the Peking Opera Orchestra typically follows
the lead of the vocalist or the performers on stage.

The musicians in the Peking Opera Orchestra are highly skilled and experienced, and they are
able to follow the vocalists and performers closely to create a cohesive and dynamic
performance. The performers on stage will often use cues such as hand gestures or body
movements to indicate changes in tempo or dynamics, and the musicians will adjust their
playing accordingly.

In some cases, a musician in the orchestra may take on a leadership role and provide cues or
guidance to the other musicians, but this is usually done through subtle signals rather than overt
direction. The focus in Peking Opera is on collaboration and communication between the
performers on stage and the musicians in the orchestra, rather than on the leadership of a
single conductor.

Vocals

The delivery of lines in Peking Opera is highly stylized and controlled by conventions that have
been developed over centuries of tradition. These conventions dictate everything from the pitch
and tone of the actor's voice to their movements and gestures on stage.

One of the most distinctive features of Peking Opera is the use of "jinghuang" or "pingshuai"
vocal styles. These styles are characterized by a high-pitched, nasal tone that is used to convey
emotion and expressiveness. In addition, the actors use a variety of vocal techniques such as
trills, glottal stops, and sudden changes in pitch to create dramatic effects.

The movements and gestures of the actors on stage are also highly controlled by convention.
For example, each character has a specific set of gestures and movements that are associated
with them, such as a particular way of walking or a certain hand gesture. These conventions
help to convey the character's personality, emotions, and status to the audience.

Overall, the rigid control of line delivery and stage movement in Peking Opera is seen as a way
to maintain the integrity of the tradition and ensure that each performance adheres to the
established conventions. However, within these constraints, there is still room for individual
interpretation and expression, and skilled performers are able to bring their own unique style
and personality to their roles.

Timbre and Pitch

In Peking Opera, each role is associated with a particular vocal timbre and pitch, which is used
to convey the character's personality, emotions, and status.

For example, the "sheng" role, which typically represents male characters such as scholars,
officials, or warriors, is characterized by a deep, resonant voice. The "dan" role, which
represents female characters, is characterized by a higher, more delicate voice. Within the
"dan" role, there are further distinctions based on the character's age and status. For example,
the "qingyi" role represents young, virtuous women and is characterized by a sweet, high-
pitched voice, while the "laodan" role represents elderly women and is characterized by a
lower, more gruff voice.

Similarly, the "jing" role, which represents male characters such as clowns, jesters, or demons,
is characterized by a high-pitched, nasal voice with a wide range of vocal effects such as trills,
glottal stops, and sudden changes in pitch. The "chou" role, which also represents male
characters, is characterized by a more naturalistic, conversational style of speaking, often with a
humorous or sarcastic tone.

By using these distinct vocal timbres and pitches, Peking Opera performers are able to convey
the essence of their characters to the audience and create a sense of realism and authenticity in
their performances.

Spoken Passages

In Peking Opera, spoken passages are often used to provide exposition or to move the plot
forward. These passages are delivered in a more naturalistic, conversational style of speaking,
in contrast to the highly stylized vocal techniques used in the singing parts of the performance.

Spoken passages are typically delivered by the "chou" role, which represents comic or clownish
characters. The "chou" character often serves as a narrator or commentator, providing
commentary on the action or interacting with the other characters on stage.

The use of spoken passages in Peking Opera can help to break up the singing and dancing
sequences and provide a more varied and dynamic performance. It also allows the performers
to convey information more quickly and directly to the audience, without the need for elaborate
song and dance routines.
Overall, the use of spoken passages is an important aspect of Peking Opera, allowing
performers to incorporate elements of naturalistic acting into their highly stylized performances
and providing a more well-rounded and engaging experience for the audience.

Chanted and Sung Passages

In Peking Opera, chanted and sung passages are an essential part of the performance. These
passages are typically sung in a highly stylized manner, with a focus on vocal technique and
expressive delivery.

Chanted passages are typically delivered in a rhythmic, spoken-sung style, known as

"changqiang". This style involves a combination of singing and recitation, with a fixed rhythm
and melody. Chanted passages are often used to convey emotions such as anger, sorrow, or
excitement, and may include elements of dialogue, narration, or soliloquy.

Sung passages, on the other hand, are more melodic and musical in nature, often accompanied
by traditional Chinese instruments such as the erhu or pipa. These passages are typically used
to convey emotions such as love, longing, or joy, and may include solo performances, duets, or
ensemble pieces.

Both chanted and sung passages in Peking Opera are highly stylized and rely on specific vocal
techniques, such as vibrato, pitch bending, and rapid changes in pitch and tone. These
techniques are used to convey the emotional nuances of the lyrics and to create a sense of
drama and tension in the performance.

Overall, chanted and sung passages are an integral part of Peking Opera, providing a rich and
expressive form of storytelling that engages the audience on both an emotional and intellectual
level.

Research By Andrei, Geronimo