Beijing Opera is the quintessence of China. The largest Chinese opera form, it is extolled as 'Oriental Opera'. Having a history of 160 years, it has created many 'firsts' in Chinese dramas: the abundance of repertoires, the number of artists, opera troupes and spectators.

     Beijing Opera is developed from absorbing many other dramatic forms, mostly from the local drama 'Huiban' which was popular in South China during the 18th century. It is a scenic art integrating music, performance, literature, aria, and face-painting. Certain rules are set up and regulations are standardized during many artists' long practice on stage. Different from regional plays, it is stricter on the variety of the workmanship. The combination of virtual and reality - a special technique of expression, keeps it largely free from the restriction of time and space on stage performance.

      The roles on the Peking Opera stage fall into four major roles-Sheng (生), Dan (旦), Jing (净), Chou (丑).

Sheng: It's a common name of male characters and composed of Lao Sheng，Hong Sheng, Xiao Sheng and Wu Sheng. Lao Sheng refers to the middle-aged man with a beard who acts as the decency figure. Hong Sheng is a Lao Sheng with face painted red. Xiao Sheng means young man without a beard. Wu Sheng played characters good at martial arts.

Lao Sheng

Hong Sheng

Xiao Sheng

Wu Sheng

Dan: The general name for female characters can be divided into Zheng Dan, Hua Dan, Hua Shan, Lao Dan and Wu Dan. Zheng Dan is also called 'Qing Yi', who mainly plays the part of the strong-minded middle-aged woman who behaves elegantly. Hua Dan refers to little girls who often live in the bottom of society. The Hua Shan actors combined the performance of Qing Yi and Hua Dan. Instead of emphasizing either singing or acting in the performance, Hua Shan actors paid attention to both aspects. Lao Dan refers to the senior woman and Wu Dan indicates the female who is good at fighting. 

Zheng Dan （Qing Yi)

Hua Dan

Hua Shan

Lao Dan

Wu Dan

Jing：Jing also called Hua Lian (characters with painted facial make-up), took the male roles. Jing could be further divided into Zheng Jing, Fu Jing and Wu Jing. Zheng Jing also called Da Hua Lian (the first-rank Hua Lian), usually specialized in singing in their performance and were often addressed as singing Hua Lian. Fu Jing included Jia Zi Hua Lian (minor painted face role) and Er Hua Lian (the second-rank Hua Lian). Fu Jing played the part of some humorous or cunning characters. Wu Jing also called Wu Hua lian, who specialized in acrobatic fighting. The actors might not be very good at singing or reciting.

Zheng Jing

（Bao Gong）

Fu Jing

（Dou Er Dun)

(Cao Cao)

Wu Jing

Chou: The clown, also called Xiao Hua Lian (Little Hua Lian) or San Hua Lian (the third-rank Hua Lian). Chou could be divided into Wen Chou and Wu Chou. Chou could play both evil characters and kind figures. Their roles portrayed insidious, cunning and selfish persons, and upright people with sharp wits and good humor could be depicted vividly as well. In traditional opera, the parts of people with low social status such as fishermen and messengers were usually acted by Chou actors. Their individualities often shared the features of being humorous. Chou, too, could be subdivided into the civilian clowns and clowns with martial skills.

Wen Chou

Wu Chou

Beijing Opera: "The Empty City Stratagem"