Known as China’s national opera, Peking Opera is a synthesis of music, dance, art and acrobatics coming from Anhui and Hubei Provinces. It was first brought into Beijing in 1790 for the birthday of the Qianlong Emperor. Peking Opera was originally staged for the court and only made available to the public later. In 1828, several famous Hubei troupes arrived in Beijing and performed jointly with Anhui troupes. The combination gradually formed Peking opera’s melodies. Peking opera is generally regarded as having fully formed by 1845. Although it is called Peking opera (Beijing theatre style), its origins are in the southern Anhui and eastern Hubei, which share the same dialect of Xiajiang Mandarin (Lower Yangtze Mandarin).
Peking opera’s two main melodies, Xipi and Erhuang, were derived from Anhui opera after about 1750. Xipi literally means ‘Skin Puppet Show’, referring to the puppet show that originated in Shaanxi province. Chinese puppet shows always involve singing. Much dialogue is also carried out in an archaic form of Mandarin Chinese, in which the Zhongyuan Mandarindialects of Henan and Shaanxi are closest. This form of Mandarin is recorded in the book Zhongyuan Yinyun. It also absorbed music from other operas and local zhili musical art forms. Some scholars believe that the Xipi musical form was derived from the historic Qinqiang, while many conventions of staging, performance elements, and aestheticprinciples were retained from Kunqu, the form that preceded it as court art.
Thus, Peking opera is not a monolithic form, but rather a coalescence of many older forms. However, the new form also creates its own innovations. The vocal requirements for all of the major roles were greatly reduced for Peking opera. The Chou, in particular, rarely has a singing part in Peking opera, unlike the equivalent role in Kunqu style. Themelodies that accompany each play were also simplified, and are played with different traditional instruments than in earlier forms. Perhaps most noticeably, true acrobatic elements were introduced with Peking opera. The form grew in popularity throughout the 19th century. The Anhui troupes reached their peak of excellence in the middle of the century, and were invited to perform in the court of the Taiping Heavenly Kingdom that had been established during the Taiping Rebellion. Beginning in 1884, the Empress Dowager Cixi became a regular patron of Peking opera, cementing its status over earlier forms like Kunqu. The popularity of Peking opera has been attributed to the simplicity of the form, with only a few voices and singing patterns. This allowed anyone to sing the arias themselves.
Peking opera was initially an exclusively male pursuit. The Qianlong Emperor had banned all female performers in Beijing in 1772. The appearance of women on the stage began unofficially during the 1870s. Female performers began to impersonate male roles and declared equality with men. They were given a venue for their talents when Li Maoer, himself a former Peking-opera performer, founded the first female Peking-opera troupe in Shanghai. By 1894, the first commercial venue showcasing female performance troupes appeared in Shanghai. This encouraged other female troupes to form, which gradually increased in popularity. As a result, theatre artist Yu Zhenting petitioned for the lifting of the ban after the founding of the Republic of China in 1911. This was accepted, and the ban was lifted in 1912, although male Dan continued to be popular after this period.