The Peking opera, one of the best-known Chinese art forms, is struggling. The opera attracts fewer and fewer visitors. To attract new audiences, creators balance between preserving centuries-old traditions and embracing new storytelling forms.
In 2010, the UN cultural organization UNESCO recognized the opera as intangible cultural heritage. But even the oldest and most famous theaters in Beijing have to twist themselves into all sorts of shapes to keep the art form alive. Over a century ago, Qianmen, the artist district of Beijing, had about a hundred theaters. Now only a handful remain.
One of them is the Liyuan Theater, at Tiananmen Square, in the center of the capital. The theater, which opened its doors in 1785, was on the eve of the opera's rise and has a glorious history.
China's most famous opera star of the last century, Mei Lanfang, and many other celebrities made their debut on this stage. The first female troupe was also founded here. But two centuries later, this theater and the troupe are also struggling.
Incomprehensible
The biggest problem is that many people no longer understand the Peking opera, says theater manager Ma Li. "The Peking opera consists of four disciplines: singing, recitation, acting, and martial arts. Over the years, the old language and singing art have become incomprehensible to many people."
For decades, the vast majority of the arts in China were banned. Then followed a period of rapid development of the country and mass migration to the cities, causing people to have less contact with the theater.
Today, very few people can follow the opera. Moreover, "many people find that the stories are too far removed from daily life," according to Ma.
Transforming into an experience center
To bring the opera closer to people and make it more understandable, the theater has transformed itself into an "experience center."
Before the performance, visitors receive a brief introduction to the opera. Ma explains the four main roles and instruments of the opera. Afterwards, visitors can meet some of the opera players who are preparing in the foyer.
Xie Yi is playing the clown tonight and is putting on makeup. "From the white patch on my face, people can tell which character I play," Xie explains. This applies not only to him but to all players. The colors and patterns painted on the face tell the viewer which character they portray and what kind of personality they have.
For example, a red face stands for someone who is loyal and brave. When a player appears on stage with a yellow face, the audience knows they are dealing with a cunning and peaceful person. Previously, people needed some knowledge of the opera before attending a performance, but in the Liyuan Theater, that is not necessary; everything is explained.
Xie is the host tonight and talks about the pieces people are going to see. "The clown is traditionally the only character who speaks the Peking accent instead of the classical opera language," he says. So everyone can understand the clown.
Another reason prior knowledge of the opera is needed to follow the pieces is that the stage remains almost empty. You will not quickly see more than a table and chair. To give the audience a bit more context, the Liyuan Theater projects images on the wall. In this way, the core of the opera is not tampered with, but it becomes better understandable.
The government is doing everything to save the opera. For example, Peking opera is included in the basic curriculum at schools in the capital, cooperation with online platforms is encouraged, and troupes can count on subsidies.
According to Chinese newspapers, the measures are effective and the opera is currently experiencing a revival. Whether all these adjustments truly benefit the arts in China is a matter of debate. For the Chinese government, theaters, and players, however, the curtain for the Peking opera is far from falling.