The outsider might think of Chinese Opera as a Chinese version of Opera; just singing and dancing to the music with the lyrics in Chinese. That may be so for Chinese Opera’s common features, but therein is a world of difference.
Just as with western musicals and their many derivatives, Chinese Opera is a large kingdom of sub types of operas, among which the main difference is the dialect employed by the actors while singing.
Search Peking Opera and Kun Opera on an online video platform and listen to the singing. Hear the two different kinds of Chinese; one strong, one soft. It’s Peking dialect in the case of Peking Opera and Suzhou dialect in the case of Kun Opera. Experienced viewers of Chinese Opera will tell you that Peking Opera is boisterous, while Kun Opera is tactful; both a product of dialect.
Yet, the differences extend further; performance art, singing style and even the scripts and stories are also factors that identify an opera’s type.
For example, Chuan Opera (Sichuan Opera) is famous for the magical face-changing and spouting flames, not seen in other types. Qinqiang (Sha’anxi Opera), on the other hand, has a special voice that is different from all the other types of Chinese Opera, which is more expansive and desolate. Hear it for yourself by searching “The Case of Chen Shimei” (铡美案); it will surprise you.
Newcomers to Chinese opera might well ask whether the scripts for one kind of opera can be used used in a different type. If only it were so easy!
Unfortunately, copying the whole script would not only make the script less attractive in terms of losing the original dialect and associated performing arts, it would also make the recipient opera ambivalent in its style.
But why did the operas in China develop with such large differences between different regions?
First, Chinese Opera is not a product of the government; it was born in the fields and not appreciated by the emperor until late in history.
As people migrated, it spread to different regions, but in part due to the challenges presented by extreme topology, operas in different areas began a metamorphosis.
Second, in Chinese culture, Opera is partly developed from “ci”, a form of poem popular in the Song Dynasties in which the content should strictly follow the rhythm to be sung. Hence, central to Chinese Opera is not the lyric but the song, with different musical instruments playing their part.
Third, Chinese as a language has enormous differences within short distances, so the dialects used in different regions also make different types of Chinese Opera sound different.
The development of Chinese Opera started with the Qin Dynasty’s celebratory performances in villages. But it would take until the Ming and Qing Dynasties for opera to be popularised all over the country.
Its zenith in the Qing Dynasty came when when the emperor invited opera actors to Beijing to perform.
This mixture of actors from all around produced a new kind of opera that we today call Peking Opera. It would lead to modern times which would see the emergence of some very famous opera artists.
It is important to see all the many kinds of Chinese operas as a whole, while also focusing on their shared features to assist in overcoming the vast regional differences. This is key for those just setting out in their appreciation of Chinese Opera!
