Some Western works have been adopted as new plays, but a lack of funding and an adverse political climate have left Beijing opera's fate uncertain as the form enters the twenty-first century. In more recent years, Beijing opera has attempted numerous reforms, including improvement of performance quality, adaption of new performance elements, and the introduction of new and original plays to boost sagging attendance. The repertoire of Beijing opera includes over 1400 works, which are based on Chinese history, folklore, and, increasingly, contemporary life. Melodies include arias, fixed-tune melodies, and percussion patterns. The music of Beijing opera can be divided into the Xipi and Erhuang styles. The layers of meaning within each movement must be expressed in time to music. Performers also adhere to a variety of stylistic conventions that help audiences navigate the plot of the production. The skill of performers is evaluated according to the beauty of their movements. They utilize the skills of speech, song, dance, and combat in movements that are symbolic and suggestive, rather than realistic. With their elaborate and colorful costumes, performers are the only focal points on Beijing opera's characteristically sparse stage. īeijing opera features four main types of performers performing troupes often have several of each variety, as well as numerous secondary and tertiary performers. The art form is also enjoyed in Taiwan, and has spread to other countries such as the United States and Japan. Major performance troupes are based in Beijing and Tianjin in the north, and Shanghai in the south. The form was extremely popular in the Qing Dynasty court and has come to be regarded as one of the cultural treasures of China. Beijing opera or Peking opera ( Simplified Chinese: 京剧 Traditional Chinese: 京劇 pinyin: Jīngjù) is a form of Chinese opera which arose in the late eighteenth century and became fully developed and recognized by the mid-nineteenth century.
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