VARIOUS SCHOOLS OF PEKING OPERA
Tan Xinpei and Wang Yaoqing,who broke away from the traditional rules for
vocal parts in Peking Opera,the actorsŠalso began to develop their talents
more freely.
At the end of the Qing Dynasty and the beginning of the Republic of China,
Peking Opera blossomed once again, with vigorous competition between various
schools of performance. It was Wang Yaoqing who enriched the art of
performing the dan roles, taking the Peking Opera a step forward. Under his
instruction and guidance appeared the four eminent schools of dan roles: those of
Mei Lanfang, Shang Xiaoyun, Cheng Yanqiu and Xun Huisheng. As a result, the
dan performers began to perform leading roles rather than being merely supports
for the sheng roles.
As a result of the laosheng performers' incessant efforts,many artistic schools
emerged on the stage. The main ones were those of Yu (Yu Shuyan), Ma (Ma
Lianliang), Yan (Yan Jupeng),Yang( Yang Baosen) and Xi (Xi Xiaobo). Besides
these there were the Parent Tan School of Gao(Gao Qingkui).
In south China,the hongsheng actor Wang Hongshou, who was good at
performing the fole of Guan Yu, and the laosheng actor Zhou Xinfang created the
Anhui and Qi schools.
Wusheng included the schools of Yang (Yang Xiaolou) and Shang (Shang Heyu).
In addition to these were the Parent Yu School (Yu Zhenting), the School of
Huang (Huang Yueshan), and the School of Gai (Gai Jiaotian).
In the ranks of the hualian (painted face), apart from the three main schools
initiated by the Jin Shaoshan, Hao Shouchen and Hou Xirui, there appeared in
the 1940s the School of Qiu (Qiu Shenggrong). This school has exerted immense
influence over the hualian roles in Peking Opera. This created the situation that
"Almost alll of the painted face players fall into the category of the School of
Qiu".
