Piaoyou
In China, piaoyou (Chinese: 票友; pinyin: piàoyǒu; literally: 'ticket friends') refers to amateur performers of traditional opera, especially Peking opera. These individuals can be found in urban parks entertaining passerbys and themselves, sometimes performing together without knowing each other.[1] Others gather regularly to stage shows in public theatres. Their meeting places are called piaofang (Chinese: 票房; pinyin: piàofáng; literally: 'ticket houses').[2]
History[edit]
Origin[edit]
According to Qi Rushan, the term piaoyou likely dates to the early Qing dynasty (1644–1912).[3] Having just conquered much of China, the Qing court organized touring dagu (大鼓, or drum-song) troupes to stage performances praising the Qing rule. These actors were issued "dragon tickets" (simplified Chinese: 龙票; traditional Chinese: 龍票; pinyin: lóngpiào), vouchers which allowed them free food and shelter from local government wherever they toured. This was coordinated by privately-owned agencies, dagu piaofang (literally: "dagu ticket houses"),[4] and personnel under their supervision were called piaoyou (literally: "ticket friends"). By the reign of the Kangxi Emperor (reigned 1661–1722), the dynasty had stabilized its rule and this activity gradually ceased, but amateur performers came to be known as piaoyou because they, like the performers from the propaganda groups, did not charge their audiences.[3]
19th century[edit]
In the late 19th century, Peking opera (then known as pihuang 皮黃) emerged as the dominant theatrical genre in the capital Beijing, enjoying even the patronage of several Qing emperors and the powerful Empress Dowager Cixi (1835–1908), who were all enthusiastic fans. Associations for amateur Peking opera performers first appeared during the reign of the Daoguang Emperor (reigned 1820–1850).[3] Because many other activities were forbidden for Manchu aristocrats and bannermen, imperial clan members increasingly turned to the relatively innocuous hobby of performing opera. Shanqi (1866–1922) was an active performer as were his brothers and sons, and together they were key in promoting piaoyou associations in Beijing. Yikuang (1838–1917) was another notable piaoyou, and indeed most heads of piaoyou associations were Manchu aristocrats.[4]
20th century[edit]
The late Qing prince Zaitao (1887–1970) was also a piaoyou.[4] In the Republican period (1912–1949), being a piaoyou was considered an expensive hobby.[1]
The number of piaoyou peaked in the early decades of the People's Republic (1950s and early 1960s), when amateur troupes were organized by labor unions. These troupes were all dissolved during the Cultural Revolution (1966–1976), the "Dark Ages" of traditional opera which killed many traditional performers. Since then, the piaoyou culture has made a comeback.[1] In Beijing and Shanghai, piaoyou have formed organizations and held contests. Some of the groups, known as piaofang, even have foreign members.[5]
Description[edit]
Piaoyou refers to amateur traditional Chinese opera actors who are willing to perform operas but not make a living in professional acting.The Piaoyou’s performances are called "ticket shows"(Chinese: 票戏)；Piaoyous transferred to professional actors are called "down to the sea"(Chinese: 下海). This term has become a generic term for opera and folk-art non-professional actors and musicians.
Features[edit]
Piaoyou are more than ordinary opera lovers, and even participate in performances. Many of the Piaoyous are also good at studying scripts, studying lyrics, and pondering about their performances.
See also[edit]
- Looking for Fun, a 1992 Chinese film about piaoyou
References[edit]
- ↑ 1.0 1.1 1.2 "The Spectacle of Piaoyou". China Daily. 2003-04-14.
- ↑ Wu Jia (2008-06-04). "Piaoyou Culture in Beijing". China Radio International.
- ↑ 3.0 3.1 3.2 Wu, Hsiao-Chun (2016). Ascending the Hall of Great Elegance: the Emergence of Drama Research in Modern China (PDF) (Ph.D.). University of California, Los Angeles.
- ↑ 4.0 4.1 4.2 Ye Xiaoqing (2012). Ascendant Peace in the Four Seas: Drama and the Qing Imperial Court. The Chinese University Press. pp. 223–226. ISBN 978-962-996-457-3 – via Project MUSE. Search this book on
- ↑ Xu Chengbei (2012). Peking Opera. Translated by Chen Gengtao. Cambridge University Press. pp. 37–40. ISBN 978-0-521-18821-0. Search this book on
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