Peking Opera has always been proud of the performing art of well-known actors. Famous actors of
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| Wang Yaoqing(left), a famous dan player, and Tan XinPei in a performance in 1905. | the first generation were Cheng Changgeng (1811-1880), Yu Sansheng (1802-1866) and Zhang Erkui (1814-1864). They were followed by another trio of male roles: Tan Xinpei ( 1847-1917), Wang Kuifen ( 1860-1906) and Sun Juxian ( 1841-1931 ).
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| Li Shiji, a famous dan Player in centemporary. |
In the 1920s, leading actors are form female (dan) roles. Four great dan actors headed by Mei Lanfang dominated the theatrical stage, the other three being Shang Xiaoyun , Cheng Yanqui and Xun Huisheng .
Later, a host of actors playing male bearded roles came to the fore. They include Yu Shuyan (1890-1943), Ma Lianliang, Yan Jupeng, Gao Qingkui ( 1890-1940), Tan Fuying (1906-1977), Yang Baoseng ( 1909-1958) and Xi Xiaobo (1910-1977 ).
Most of the famous actors active on the stage in the heyday of Peking Opera have died.
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| In 1922 Yang Xiaolou and Mei Lanfang put on Farewell My Concubine. |
In its history, Peking Opera has produced masters of a milestone im
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| In 1931 Yu Shuyan, Mei Lanfang, Zhang Boju (1898-1982) and Qi Rushan founded Peking National Theater Society. | portance. Cheng Changgeng was the representative of the first generation. He is reputed as the founding father of Peking Opera. He devoted the first half of his performing career to Anhui opera, one of the predecessor of Peking Opera: and he devoted his second half to Peking Opera. One of the three most famous Peking Opera actors playing the old male role, he played loyal officials and generals almost exclusively and, when acting, did not allow audiences to applaud lest it detracts from the educational effect of his shows. Cheng sought breadth in his singing to portray the strong personality of characters.
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| At the sixtieth anniversary of his stage life, Zhang Junqiu put on Grand Wedding in the Enemy Camp(long feng cheng xiang) together with his family members. |
The representative of the second generation was Tan Xinpei, who was the adopted son of Cheng Changgeng. But the two had entirely different artistic styles. Tan sought gentleness and exquisiteness in his singing. In fewer than 30 years after ending his apprenticeship, Tan became unchallenged king of the Peking Opera stage.
The representative of the third generation is Tan Xinpei's adopted son, Yang Xiaolou, who played the role of wu sheng (male character of the military type). Before him, no actor had ever achieved what he accomplished. Later generations regarded him as the best wu sheng actor ever, lauding him for starting the precedent of "offering bea
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| Zhou Xinfang and Li Yuru on a performance. | utiful singing in otherwise acrobatic fighting-filled shows." His death caused quite a sensation, with a grand funeral ceremony attended by hordes of people. Many fans thought his death would mark the beginning of Peking Opera's decline.
The representative of the fourth generation was Mei Lanfang. He made his name at an early age and, on his way to fame, received much help from Tan Xinpei and Yang Xiaoiou. Mei was an innovator of the Peking school of Peking Opera; and when he sought development in Shanghai, Mei obtained
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| Shang Xiaoyun practicing martial skill. | nourishment from the Shanghai school. Mei Lanfang went successively to Japan, the United States and Europe, exporting Peking Opera to the rest of the world.
In the 1950s P eking Opera entered a new flourishing period with a host of new plays created. Well-known actors and actresses active on the stage during
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| Cheng Yanqiu (left) and Yu Zhenfei performing on the same stage in the 1930s. | the period included Li Shaochun (playing the sheng role), Zhang Junqiu, Zhao Yanxia and Guan Sushuang (dan role), Ye Shenglan (xiao sheng role), and Qiu Shengrong and Yuan Shihai (painted face). Younger artists added luster to the stage at the time. They included dan players Du Jinfang, Yan Huizhu, Yun Yanming, Xue Yanqin, Li Yuru, Tong Zhiling, Zhao Rongchen, Li Shiji and Li Huiyang, and lao sheng players Li Hezeng, Tan Yuanshou and Ma Changli.
Active today on the stage is a new crop of artists, graduates of opera schools. They include Liu Xiurong, Yang Qiuling, Liu Changyu, Li Weikang, Li Guang, Geng Qichang, Yu Kuizhi, Diao Li, Zhang Jianguo, Zhang Huoding, Geng Qiaoyun, Chen Shufang and Li Haiyan.
Ways of enjoying Peking Opera have undergone several stages. The first was the listening stage when audiences went to an old-style theater mainly to chat with one another with their ears catching singing from actors. In the second stage, thanks to endeavors by Tan Xinpei, audiences began to see acting. And Mei Lanfang ushered in the third stage when people both watch and hear. We have now come to the final stage when people enjoy Peking Opera via radio, TV, films, and audio and video devices. The theater is no longer the only venue to see Peking Opera. |
