Peking opera(sheng)

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Peking opera or Beijing opera (simplified Chinese: 京剧; traditional Chinese: 京劇; pinyin: Jīngjù) is a form of traditional Chinese theatre which combines music, vocal performance, mime, dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing Dynasty court and has come to be regarded as one of the cultural treasures of China. Major performance troupes are based in Beijing and Tianjin in the north, and Shanghai in the south. The art form is also preserved in Taiwan, where it is known as Guoju (國劇; pinyin: Guójù). It has also spread to other countries such as the United States and Japan.
Peking opera features four main types of performers. Performing troupes often have several of each variety, as well as numerous secondary and tertiary performers. With their elaborate and colorful costumes, performers are the only focal points on Peking opera's characteristically sparse stage. They utilize the skills of speech, song, dance, and combat in movements that are symbolic and suggestive, rather than realistic. Above all else, the skill of performers is evaluated according to the beauty of their movements. Performers also adhere to a variety of stylistic conventions that help audiences navigate the plot of the production. The layers of meaning within each movement must be expressed in time with music. The music of Peking opera can be divided into the Xipi and Erhuang styles. Melodies include arias, fixed-tune melodies, and percussion patterns. The repertoire of Peking opera includes over 1,400 works, which are based on Chinese history, folklore, and, increasingly, contemporary life.
Peking opera was denounced as 'feudalistic' and 'bourgeois' during the Cultural Revolution, and replaced with the eight revolutionary model operas as a means of propaganda and indoctrination After the Cultural Revolution, these transformations were largely undone. In recent years, Peking opera has attempted numerous reforms in response to sagging audience numbers. These reforms, which include improving performance quality, adapting new performance elements, and performing new and original plays, have met with mixed success.
The Sheng (生) is the main male role in Peking opera. This role has numerous subtypes. The laosheng is a dignified older role. These characters have a gentle and cultivated disposition and wear sensible costumes. One type of laosheng role is the hongsheng, a red-faced older male. The only two hongsheng roles are Guan Gong, the Chinese god of sworn brotherhood, loyalty and righteousness, and Zhao Kuang-yin, the first Song Dynasty emperor. Young male characters are known as xiaosheng. These characters sing in a high, shrill voice with occasional breaks to represent the voice changing period of adolescence. Depending on the character's rank in society, the costume of the xiaosheng may be either elaborate or simple. On-stage, xiaosheng actors are often involved with beautiful women by virtue of the handsome and young image they project. The wusheng is a martial character for roles involving combat. They are highly trained in acrobatics, and have a natural voice when singing.[47] Troupes will always have a laosheng actor. A xiaosheng actor may also be added to play roles fitting to his age. In addition to these main Sheng, the troupe will also have a secondary laosheng. all the names are the literal meanings

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