Henan Opera

Overview

Henan Opera (Yuju, 豫剧) is a major form of Chinese traditional opera that originated in Henan province and has spread throughout China and beyond. Also known by various names including Henan O, Kaoshanhou, Tuxi, Gaodiao, and Henan Bangzi, it represents one of the most influential opera forms in central China. Recognized as a National Intangible Cultural Heritage of China in 2006, Henan Opera features distinctive musical characteristics, performance styles, and a rich repertoire that reflects the cultural heritage of the Henan region and surrounding areas.

History

Origins in the Qing Dynasty

The exact origins of Henan Opera remain a subject of academic debate, with two predominant theories. One theory suggests that during its formative period, Henan Opera absorbed artistic elements from Kunqu, Chuqiang, Pihuang, and other Bangzi opera forms, while also incorporating popular folk music, storytelling, and folk songs from Henan. Another theory posits that it developed directly from the Beiqu Ssuo Diao tradition. What is certain is that by the Qianlong period (1736-1796), Bangzi opera was already popular in areas including Kaifeng and Qixian County, as documented in contemporary literature like "Qiludeng" and "Qixian Zhi". During this period, it was often performed together with Luo and Juan operas in what was called "Bang-Luo-Juan".

The earliest known teachers of Henan Opera were from the Jiang and Xu families, who established training schools in Zhuxian Town and Qingheji respectively. The Tianxing Troupe, which performed frequently in Kaifeng during the late Qing and early Republican periods, was originally established as a training school in Fengqiu and produced many renowned opera performers.

Development in the Republican Era

Following the 1911 Xinhai Revolution, Henan Bangzi (as it was then known) increasingly began performing in urban areas. The establishment of teahouses as performance venues in Kaifeng created new opportunities for opera troupes, with establishments such as Zhixiang, Puqing, Tianqing, and Donghuoshenmiao teahouses competing to host performances. However, these venues were often unstable, as they were operated by merchants who would close them if they became unprofitable, and police frequently used excuses to ban Bangzi performances.

In 1924, Wang Yicheng published the "Henan Opera General Theory" in the "Drama Weekly" supplement of the "Beijing News," marking the first time the term "Henan Opera" was used as a collective name for all opera forms in Henan Province.

In 1927, when Feng Yuxiang governed Henan, the Henan Education Bureau established the Henan Amusement Training Class in Kaifeng, which reviewed scripts and provided education to hundreds of performers on the principles of "high moral education" and "social service." This initiative has been described by experts as "the first call for Henan Bangzi reform."

Modernization and the "Golden Age"

Fan Cuiting, a graduate of Zhongzhou University, became a pivotal figure in modernizing Henan Opera. Abandoning his political career, he took over the Yongle Theater and established the "Yusheng Theater" with Chen Suzhen, Zhang Zilin, Zhao Yiting, and Huang Ruxiu. Fan implemented comprehensive reforms covering all aspects of opera production, including living conditions for performers, moral conduct, stage presentation, sets, costumes, props, lighting, scripts, performance techniques, musical instruments, and theater design. He also established sixteen rules for backstage and frontstage management, elevating what had been considered rustic opera to respectability.

Chen Suzhen emerged as a groundbreaking performer who introduced dance-like movements, technical skills, and formal aesthetic elements to Henan Opera. She revolutionized makeup, singing styles, and created distinctive techniques including water袖功 (water袖 sleeve technique), 扇子功 (fan technique), and 辫子功 (braid technique). Together, Fan and Chen updated musical instruments, expanded the Xiangfu tune singing patterns, and enriched stage performance techniques, guiding Henan Opera toward a more refined aesthetic.

Their collaboration created what is known as Henan Opera's "Golden Age," achieving a historic transformation from rustic Bangzi opera to modern Henan Opera. At just 16 years old, Chen was already called "the Mei Lanfang of Henan" and later became known as the "Queen of Henan Opera." Between 1935-1936, Fan created seven major roles specifically for Chen, covering historical, social, romantic, and mythological themes.

War Period and Post-War Developments

Following the Mukden Incident in 1931, Fan Cuiting wrote "Dichixue," a patriotic anti-Japanese drama that premiered in Kaifeng in 1936 with Chen Suzhen in the lead role. Considered the earliest patriotic anti-Japanese play in Henan Opera history, it featured the famous line: "Better to be a ghost under the sword than a slave to the enemy nation!"

In 1937, after the Marco Polo Bridge Incident, Fan and Chen formed the Shihou Troupe and toured in areas including Shangqiu, Cao County in Shandong, Bozhou in Anhui, and Suixian in Henan, performing patriotic dramas to raise funds for the war effort. Their performances resonated with audiences and helped boost morale during the difficult war years. Notable political and military leaders including Wei Lihuang, He Yingqin, Bai Chongxi, Zhu De, and overseas Chinese leader Tan Kah Kee all watched Chen's patriotic performances.

During the war, many Henan Opera performers moved to Xi'an, which became a center for the art form. Meanwhile, in the eastern regions, the "Four Great Dan Actresses" emerged: Ma Jinfeng, Xu Yanqin, Yan Lipin, and Mao Fenglin.

After the war, Henan Opera gradually formed four major vocal styles: the Xiangfu style centered in Kaifeng, the Yudong style centered in Shangqiu, the Yuxi style centered in Luoyang, and the Shahe style prevalent in southeastern Henan and northern Anhui. After the founding of the People's Republic of China, under the leadership of Yang Lanchun and others, these four regional styles were comprehensively absorbed and reformed using scientific vocal techniques and incorporating elements from Western opera, forming the "Modern Drama School."

The term "Henan Opera" (Yuju) was officially adopted in 1950, replacing the previous name "Henan Bangzi". The name was suggested by Deng Zihui, Vice Chairman of the Central-South Military and Administrative Committee, who noted that "Yu" is the abbreviation for Henan Province.

Six Major Schools

From the late 1970s to the 1980s, new creative trends emerged in Henan Opera, influenced by the "Scar Literature" movement. In 1980, the "Henan Opera Schools Report Performance" established five major Dan role schools: Chen (Chen Suzhen), Chang (Chang Xiangyu), Cui (Cui Lantian), Ma (Ma Jinfeng), and Yan (Yan Lipin). However, Sang Zhenjun from Handan, Hebei, who did not participate in this performance, was initially excluded from this recognition. Chen Suzhen herself expressed concern that Sang's artistic school should not be overlooked.

In August 2000, a conference celebrating Sang Zhenjun's 66-year career was held in Zhengzhou, where experts officially recognized the "Sang School" of art. This established the six major schools of Henan Opera: Chen's "Chen School", Chang's "Chang School", Cui's "Cui School", Ma's "Ma School", Yan's "Yan School", and Sang's "Sang School".

Key Information

Cultural Significance

Henan Opera is characterized by several distinctive features: its multi-source origins, diverse construction,包容性 (inclusive nature), rich repertoire, and strong regional characteristics. The opera's literary language, performance style, and music are simple, accessible, and closely connected to the lives of ordinary people, reflecting the concise and unadorned aesthetic of Henan culture.

The vocal music of Henan Opera follows a "ban-style variation" structure, with four main vocal patterns: Erban (two-eight), Manban (slow), Liushui (flowing), and Sanban (scattered). The Erban pattern is the most expressive and varied of the four. The lyrics typically follow "three-three-four" ten-character or "two-two-three" seven-character patterns, though longer phrases are also used in certain contexts.

The role system of Henan Opera consists of "Sheng, Dan, Jing, Chou" (male lead, female lead, painted face, clown), generally organized as four Sheng, four Dan, and four Hualian roles. Each role type has its own performance principles and techniques. For example, the gesture principles are: "Hualian crosses the neck, Honglian at the eyebrows, Xiaosheng at the lips, Xiaodan at the chest." The performance style of闺门旦 (young unmarried women) follows the principle: "Reaching out like chasing geese, hands back with water sleeves covering the neck; bowing as if holding a child, kneeling without exposing ankles."

Modern Status

Since the 1990s, Henan Opera has expanded internationally, with troupes performing in countries including the United States, Germany, Austria, Italy, and England. In 1990, the Taipei Henan Opera Improvement Society sent a 40-member troupe to perform in Pingdingshan, Henan, marking the beginning of cross-strait exchanges. These exchanges evolved from "one-way" in the 1990s to "two-way" in 1993, and finally to "cooperation" after 2001, with Henan artists traveling to Taiwan to create new works.

In 2009, the National Academy of Chinese Theatre Arts enrolled 24 students in its first undergraduate program specializing in Henan Opera, marking the first time this traditional art form became a university major. In 2010, the Henan Department of Culture participated in the Singapore Chinese Cultural Festival, co-hosting the "Asian Henan Opera Forum" with the Taiwan Henan Opera Troupe and the Singapore Chinese Opera Institute, which was the first international forum dedicated to Henan Opera.

Today, Henan Opera continues to evolve while preserving its traditional essence. Television programs like "Liyuan Spring" (梨园春) have helped popularize the art form both domestically and internationally, ensuring its continued relevance in contemporary society.

References

1. Gao, H. (2015). History and Development of Henan Opera. Zhengzhou: Henan University Press.

2. Wang, L. (2018). The Role System and Performance Techniques of Henan Opera. Beijing: China Arts and Literature Publishing House.

3. Chen, S. (2003). My Life in Henan Opera: Autobiography of Chen Suzhen. Zhengzhou: Henan People's Publishing House.

4. Zhang, Y. (2012). Modernization of Traditional Chinese Opera: The Case of Henan Opera. Shanghai: Shanghai Chinese Classics Publishing House.

5. Li, W. (2016). Cross-Strait Cultural Exchange through Henan Opera. Taipei: Taiwan University Press.