Peking Opera: Global Influence, Acculturation, and Transnationalism

Introduction

Peking Opera is a form of traditional Chinese theatre whose origins can be traced to the late 18th century. Compared to other kinds of Chinese theatre that existed at the time, Peking Opera was a relatively new style of drama. It combined music, dance, and acrobatics presented in a lively and colorful way (Gao par. 1). In ancient times, performers would stage Peking Opera at religious ceremonies and feudal lords' festivals. While Peking Opera emerged in the late 18th century, it became fully developed and widely recognized by the mid-19th century.

Since its inception, Peking Opera has played a crucial role in sharing Chinese culture with the world. It conveys a national spiritual essence accompanied by elegance and beauty. Peking Opera has developed into a tool of transnationalism and acculturation, conveying a unique national spirit throughout the world.

This study seeks to examine the development of Peking Opera and its global influence, particularly its social impact. The researcher aims to determine the social impact of Peking Opera on numerous foreigners who speak little Chinese and come from diverse cultural backgrounds. Additionally, this study highlights how Peking Opera is utilized as a tool to promote social, cultural, and psychological change between Chinese culture and other cultures around the world. This evaluation proceeds on the premise that this unique form of traditional Chinese theatre continues to attract many foreign nationals at a time when young Chinese people have grown less interested in it. In essence, the study helps in understanding the distinctive aspects of Peking Opera that make it attractive to foreigners and contribute to its global influence through transnationalism and acculturation.

To achieve the purpose of this study, the researcher developed a guiding research question: "What is the social impact of Peking Opera throughout the world in relation to culture and/or identity?"

This study primarily relies on an exploration of existing literature, articles, and publications on this topic. A review of existing literature is considered a suitable method for answering the research question because the research issue is exploratory in nature. Since Peking Opera is a form of traditional Chinese theatre that has existed for centuries, it has attracted significant scholarly attention and been the subject of numerous studies and publications in the fields of culture, art, and music. Therefore, a comprehensive review of existing studies and literature helps in determining its social impact and global influence while answering the research question.

Brief History of Peking Opera

Peking Opera is a form of traditional Chinese theatre whose origins can be traced to the late 18th century (Gao par. 1). Also known as Beijing Opera, it emerged in 1790 on the occasion of the Qianlong Emperor's eightieth birthday. Prior to its emergence, the elite nobility preferred Kunqu Opera, renowned for its refined language and elegant music. Chinese commoners, by contrast, enjoyed various regional popular theatre styles that were dismissed by the elite. This preference for Kunqu Opera among the nobility changed in 1790 following the introduction of Peking Opera. The new form of traditional Chinese theatre was introduced when four experienced drama troupes from Anhui province visited the capital and performed in celebration of Qianlong's birthday at the imperial court. Following their performance, Peking Opera was born, and the four troupes later became known as the four great Anhui companies. These troupes dominated this traditional form of Chinese theatre for the next century.

During the early years of Peking Opera, all actors were men, and the roles of women were played by young boys (Gao par. 4). Women were not allowed to participate in Peking Opera performances because of the belief that interactions between the sexes would result in immoral behavior (Chinavine par. 11). During this period, women were prohibited both from attending and from participating in Chinese opera performances. Ironically, most of the stories in Peking Opera fell into two major categories: wen, or civil theatre, which centered on love, marriage, and other issues affecting everyday life; and wu, or military theatre, which focused on themes of war characterized by thrilling acrobatic performances.

A significant turning point in the history of Peking Opera came in 1900, when all the great theatres in Beijing were burned down during the Boxer Rebellion — an uprising that had a profound impact on Chinese art. Following this catastrophic period, the four great Anhui companies and others dissolved, creating a platform for individual artists to develop their own performances. Individual artists began experimenting with various styles, including combinations of traditional Peking Opera with Western dramatic influences. The new form of Peking Opera also began to address contemporary issues in China, including politics, and to advocate for social reform. Since then, Peking Opera has adopted more contemporary themes and styles and has become a vehicle for a unique national spiritual essence characterized by elegance and beauty.

Overseas Dissemination of Peking Opera

As Peking Opera adopted more contemporary themes and styles in recent decades, a significant number of foreign nationals became interested in this form of traditional Chinese theatre (Min par. 1). According to Liu, the growing interest of foreigners in Peking Opera is attributable to the fact that it has evolved from primitive religious rituals into a fully developed form of artistic drama (p. 2). Modern Peking Opera is characterized by dramatic performances comprising symbolic gestures, poetic dialogues, dance-like body movements, singing, and dancing in harmony with music and rhythm (Liu, p. 2). Through this evolution, Peking Opera has become a tool that highlights social and cultural differences between Chinese and world cultures through dramatic aesthetics and theatrical practices.

The overseas dissemination of Peking Opera can be traced back more than eight decades, when the legendary performer Mei Lanfang introduced this mysterious oriental drama to international audiences. Since then, various individual artists have developed Peking Opera and brought it to different parts of the globe. For instance, in 2009 a full-length original Peking Opera, Chibi, appeared on several screens in Times Square, New York (Min par. 1), giving New Yorkers and other visitors an opportunity to experience the beauty of Chinese culture. The introduction of Peking Opera to the world was therefore not only a means of sharing Chinese culture, but also an opportunity for artists to display Chinese excellence on a global stage.

Following Peking Opera's international debut, an increasing number of foreigners have become interested in this traditional art form. Many are fascinated by the Chinese culture and artistry on display, which draws them closer to it — even as many young Chinese people grow indifferent to it. For individual artists and enthusiasts, Peking Opera is a symbol of national spiritual essence expressed through beauty and elegance, and this unique cultural component forms the basis of its overseas dissemination.

The overseas dissemination of Peking Opera has in turn provided the basis for its social impact and global influence. As this form of traditional Chinese theatre is shared worldwide, it becomes a tool of acculturation and transnationalism. It not only showcases thousands of years of Chinese history, but also expresses the character traits and lifestyles of Chinese people — traits that foreigners, even those with little or no knowledge of Chinese, come to adopt because of their fascination with the art form.

Another factor contributing to the overseas dissemination of Peking Opera is the increased modernization and Westernization of China. This has driven the incorporation of contemporary themes and styles into Peking Opera, making it more accessible and appealing to foreigners with limited familiarity with Chinese culture. While Peking Opera has retained its core traditional Chinese foundations, it has adopted more contemporary styles and themes in recent years. This modernization has made it easier for foreigners to understand Peking Opera and Chinese culture. However, increased modernization and Westernization has also decreased the popularity of Peking Opera among younger Chinese generations while foreigners are increasingly drawn to it (Li, p. 1).

Conclusion

Peking Opera is a form of traditional Chinese theatre whose origins can be traced to the late 18th century. It emerged to replace Kunqu Opera, which had been the preferred form of traditional Chinese theatre among the Chinese elite and nobility. Since its emergence, Peking Opera has developed to the point where it now integrates contemporary themes and styles alongside its classical foundations. Through its overseas dissemination, Peking Opera has had a significant global influence and social impact. It has become a tool of both transnationalism and acculturation, conveying a unique national spirit throughout the world.

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