Qinqiang

As the study of Qinqiang was mostly conducted via oral instruction and demonstration, early research on Qinqiang is scant. Qinqiang is believed by scholars to have originated during the Qin dynasty and that it is the originator of Chinese opera. It developed from its prototype Xi Diao, a type of folk opera, and spread throughout China to the provinces of Shaanxi and Gansu.[5][7] There Qinqiang changed over time and gradually formed the basic style of the Qinqiang opera, which continued to be performed throughout 1644 in China. Scholars state that Qinqiang reflects on the personalities and experiences of the working people, as it was impacted by the war and the influence of Western culture and art.[5][5]

The fourteenth version of the play Bozhong Lotus in the Ming Dynasty (1573-1620 A.D.) has been frequently cited as one of the most important and authoritative. The play tells the tale of Gu Lao-er, a cylinder mender. Scholar Qin Bao has stated that the play's seven-character sentence pattern is direct evidence of the formation of the Qinqiang opera plate cavity and that its plot and folk expression is evidence of Qingiang's folk production.[8]

Qinqiang was banned from "being performed in Beijing" in 1785 by the emperor at the time, Qianlong. It was stated that "the sexual suggestiveness of the genre" was the reason for it being banned, but it is believed that the real reason was because the difference in style from prior Chinese folk opera styles allowed social critique of China to be written into them. The ban, however, only ended up expanding the style into more areas outside of Beijing, primarily to theatres in the southeast.[9]

Qinqiang has four forms of performance: singing, narration, dance, and martial arts. During performances the combination of singing and narrative is used to express other scenes and characters, such as general combat or soldiers attacking enemies on the stage. Supporters of Qiniang state that this creates a unique charm and atmosphere.[5] Actors require a foundation of vocal music, as this is how the character of different humanities is expressed.[5][5]

There are 13 kinds of characters in Qinqiang including four kinds of "Sheng" (生, male)(老生、須生、小生、幼生), six kinds of "Dan" (旦, female)(老旦、正旦、小旦、花旦、武旦、媒旦), two kinds of "Jing" (淨, painted face male)(大淨、毛淨) and one kind of "Chou" (丑, Clown), also knowns as " 13 Tou Wangzi" (十三頭網子).

• Wei Changsheng

Yang Wenying, a famous artist after the founding of the People's Republic of China, and his achievements in the study of Qinqiang Opera art. Yang Wenying is a famous director and actor. He adapted many music works of Qinqiang art to promote the development of modern Qinqiang art in China, such as the modern Qinqiang opera “Red coral”, “Red Lantern”, “Ports” and so on.[10]

In 1958, Zhao, Zhenxiao and Lu Rilong, professors of Xi'an Conservatory of Music, created the “Capriccio on a Qinqiang Theme”, which is inspired by Shaanxi Opera, in order to promote the development of national music. The “Capriccio on Qinqiang Theme” is a representative work of the Qingqiang style. This music work is written for Erhu, which is called Chinese violin.[11]

• China Qinqiang Website (Chinese)