Opera | “To devote oneself wholeheartedly to mastering a particular school of singing is the most misguided thing one can do.”

Nowadays, no matter which role a performer takes, they are expected to adhere to a distinct “school” or “style”: those who sing sheng roles either follow the Tan School, the Yu School, the Ma School, or else the Yan School and the Gao School; wusheng actors invariably claim the Yang School; qingyi actresses must invoke the Mei School, the Cheng School, or the Shang School; huadan actresses invariably cite the Xun School or the Xiao School; and laodan performers invariably profess the Gong School…

Opera | Twelve Types of Postures in Mei Lanfang’s Dan-Role Performances

The art of Mei Lanfang has already been briefly outlined in the preceding chapter, yet this sketch captures only the general outline and falls far short of doing it justice. For no matter what kind of singing one seeks to describe, even a musical score cannot fully convey its subtleties; such beauty can only be apprehended through the ear. To attempt to render it in words alone would prove futile, so there is little need to dwell on minutiae. This chapter will offer a more detailed exposition of his various gestures and postures, illustrated with photographs to facilitate understanding; nevertheless, it too confines itself to a broad overview. As for whether his movements are vigorous or graceful, angular or rounded, and whether they precisely accord with the rhythm and melody—such nuances can scarcely be captured by still photographs; indeed, only moving pictures could do them full justice. Thus, this section serves merely to present his established poses in rudimentary form.

Opera Trivia | In the world of opera, which role is the most arduous yet receives the smallest share of the performance?

In the world of opera, there is a type of role that receives the least attention yet performs the most arduous work and is given the fewest lines; if you were to guess, you would surely recognize it as the “extra.” Yet this humble “extra,” despite his lowly station, is in fact an indispensable figure in the theatrical ensemble.

Opera Trivia | How many regional opera genres are still performed in China today?

According to surveys conducted in the late 1950s, there were a total of 368 local opera genres across the country, representing various ethnic groups. In other words, even if you watched one opera genre every day, it would still take more than a year to see them all. However, as of August 31, 2015, 19 of these genres had already disappeared, while one had been revived.

Opera Trivia | Opera Terms in Everyday Life

Opera has been passed down for a thousand years, with its four traditional roles—sheng, dan, jing, and chou—its melodious and ever‑changing vocal styles, and its exquisitely graceful movements; even a fleeting glimpse can draw one deeply into its world. Opera is a source of pride for the Chinese people, and the culture it embodies has long been woven into our everyday lives—most visibly in the many words and expressions we use in our daily routines.

Opera Trivia | Does the term “Liyuan disciple” refer not to opera performers but to instrumentalists? And where did this designation actually originate?

The term “Liyuan disciples” originally did not refer to opera performers, but rather to instrumental musicians. According to a passage in the “Old Book of Tang—Treatise on Rites and Music,” Emperor Xuanzong of the Tang Dynasty, Li Longji, was deeply fond of music and highly proficient in musical theory; he particularly admired the refined “Fadian” style. Consequently, he selected 300 musicians and had them trained exclusively in the imperial palace’s Liyuan Garden to perform the “Fadian.” With Li Longji personally overseeing their instruction, these musicians came to be known as the “Emperor’s Liyuan Disciples,” thus giving rise to the phrase “Liyuan disciples.”