Audiences know what kind of character is being portrayed from the colours on the actor’s face. These differing types of characters are all distinguished using different face make-up. Female characters are called dan, male characters are sheng, clowns are chou, and cruel or sinister characters are jing or hualian. The archetypal characters in Peking Opera are finely differentiated according to disposition and age. Both styles of dialogue are now not easy to follow for anyone who is not familiar with this style of opera. The dialogue in the opera is either in standard spoken Chinese, or in a special dialect used only in music. The variations of rhythm and pitch in Peking Opera’s singing enable the performer to express their thoughts and emotions clearly. In fact, Mei Lanfang (1894-1961) is still regarded as the most famous Peking Opera performer in Chinese history. Millions of people flocked to the opera house every year. In the early 20th century, Peking Opera enjoyed its period of greatest success. Their two different styles of opera eventually blended together and gradually created a whole new genre, which came to be known as Peking Opera. In 1828, a troupe from Hubei came to Beijing and often performed with these troupes from Anhui. The vigorous tunes and crystal clear notes associated with Hui Opera gradually made it more popular and it eventually replaced Kunqu Opera, which had once been popular in the palace and among the upper class citizens of Beijing. Four famous troupes from the Huizhou district (in what is now Anhui province) remained in Beijing after his birthday performance. He summoned opera troupes from all over China to entertain him on this special occasion. In 1970, the Qing Emperor Qianlong (1736-1795) celebrated his 80th birthday. However, it was originally adapted from a style of opera known as Hui Opera.
It is named Peking (Beijing) Opera because it emerged and became popular in Beijing. Peking Opera is the most popular and influential type of stage performance in China.
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