Beyond Convention: Xun Huisheng’s Innovations in Qingyi and Huadan Performance Aesthetics
DOI:
https://doi.org/10.24191/idealogy.v11i1.898Abstract
This paper examines the distinctive performance style of Xun Huisheng (1900–1968), one of the “Four Great Dan” of Peking Opera, with a specific focus on his revolutionary approach to the Huadan (vivacious female) role type. Utilizing textual analysis of primary sources from the Republican era, including newspaper reviews, performance records, and critical essays from periodicals such as Shen Bao and The Theatre Monthly, this study deconstructs Xun’s innovations in vocal delivery, physical movement, and character portrayal. It argues that Xun systematically integrated expressive elements from regional theater forms, particularly Bangzi opera, to forge a performance aesthetic characterized by naturalism, psychological depth, and nuanced emotional expression. The findings reveal that Xun’s artistic reforms not only expanded the expressive capacity of the huadan repertoire but also embodied a significant paradigm shift within Peking Opera during its early 20th-century modernization. This research offers a new perspective on the evolution of performance aesthetics in Chinese traditional theatre and underscores Xun Huisheng’s profound influence on gender representation and stage practice.
Keywords: Xun Huisheng, Peking Opera Theatre, Huadan, Chinese Performance Arts, Gender and Performance
References
Deng, J. F., & Hassan, S. A. (2024). The Decorative Features of Guangxi China “Maonan Nuo” Mask and the Contemporary Significance of Role Images. Idealogy Journal, 9(2). https://doi.org/10.24191/idealogy.v9i2.518
Ding Jihong (Ed.). (2009). Personal Past. Beijing: China Radio and Television Press
Fu J. (2019). A New Perspective on Peking Opera Research and literature. Cultural Heritage (06),118-124.
Goldstein, J. (2007). Drama kings: players and publics in the re-creation of Peking opera, 1870-1937. University Of California Press.
He, Y. (2016). A Glimpse into the Acting Techniques of Peking Opera Performers. Home of Drama, 04, 42. cnki: SUN: XJZT.0.2016-04-019
Hu, X. (1995). The trends of Chinese theater thought in the twentieth century. Jiangsu Literature and Art Publishing House.
Huang, D. (2002). Facial Makeup in Chinese Traditional Theater. Beijing: Beijing Arts and Crafts Press.
Li Lingling. (2010). The Complete Biography of Huisheng. Beijing: China Youth Publishing House.
Liu, Z. (2013). The Four Great Dan step onto the stage: The peak period of Peking Opera. China Music Education, 9, 53–56. cnki: SUN: ZYJA.0.2013-09-024
Luo Zheng. (2012). Twenty Lectures on Chinese Peking Opera. Publishing House: Chemical Industry Press.
Ma, S. (Ed.). (2019). History of Peking Opera in China. Beijing: China Theater Press.
Merriam, S. B., & Tisdell, E. J. (2016). Qualitative research: a guide to design and implementation. John Wiley & Sons.
Qin, H. (Ed.). (2001). On the artistic schools of Peking Opera. Jinghua Publishing House.
Shan, Y. (2021). A Study of Theater Journals in the Republican Period (1912–1949). Shanghai Sanlian Bookstore.
Wang, S. (2014). On the Causes and the Significance of the Payment Change. Drama (the Journal of the Central Academy of Drama), 97–106. https://doi.org/10.13917/j.cnki.drama
Wang, Y., Mohd, H., & Marziana, L. (2025). The Semiotic Analysis on the Inheritance of Chinese Cultural Symbols from Ne Zha Conquers the Dragon King (1979) to Ne Zha: Birth of the Demon Child (2019). Idealogy Journal, 10(2). https://doi.org/10.24191/idealogy.v10i2.789
Wang, S. (2021). A Study on Xun Huisheng′s Performing Arts and the Comparison Among the Four Greatest Artists in Peking Opera. Journal of East China University of Technology (Social Science), 40(4), 329–334. cnki: SUN: FZSZ.0.2021-04-006
Wu, Y. (2022). A study on Xun Huisheng’s singing artistry (1922–1928). National Academy of Chinese Theatre Arts, 1–52. https://doi.org/10.27647/d.cnki.gzgxc.2022.000012
Xing, F., Tahir, A., & Syed, B. (2024). The Sustainable Development of Jin Opera Costumes from The Perspective of Traditional Cultural Protection. Idealogy Journal, 9(1). https://doi.org/10.24191/idealogy.v9i1.535
Xu Jianxiong & Xu Jialin. (2007). Madness in the City: The phenomenon of comedy in Modern Shanghai Peking Opera. Guizhou Social Sciences (03),40-45.
Ye Tao. (1994). Chinese Peking Opera Customs. Shaanxi People’s Publishing House.
Yeh, C. (2008). Beijing: Urban Imagination and Cultural Memory (P. Chen & D. Wang, Eds.). Beijing: Peking University Press.
Yi, Z., Ramlie, M. K., & Subri, S. (2024). Exploring the Impact of Emotion on Future Sustainable Development Education ：Leveraging Virtual Reality Technology. Idealogy Journal, 9(2). https://doi.org/10.24191/idealogy.v9i1.532
Zhong Libin. (2023). From “Listening to Theater" to "Watching Theater”? -- Sensory Culture and Musical Changes of Beijing Opera in the Republic of China. New sound yue (Journal of Shenyang Conservatory of Music) (01), 14 -23. Doi: 10.20093 / j.carol carroll nki CN21-1080 / j. 2023.01.02.
Zhu Hengfu. (2005). The Role of Famous Actors in the Improvement of Peking Opera. History, Present and Future of Peking Opera (Part 1). Edited by the National Academy of Chinese Opera. Beijing: China Drama Press, p.300-310
REPUBLICAN-ERA SOURCES
Can, Ying. (1931). Xun Huisheng [荀慧生]. Beijing Huabao, 5(205), p. 2.
Fen. (1936, December 4). Tan Xun Huisheng [谈荀慧生]. Tianjin Yishi Bao, p. 14.
Hongye. (1938). Xun Huisheng zui shan biaoqing [荀慧生最擅表情]. Liyan Huakan, (7), p. 4.
Jiong, Jiong. (1927). Ji Xun Huisheng zhi hua [记荀慧生之画]. Shanghai Huabao, (291), p. 2.
Langru. (1943, February 16). “Hongniang” ying yu chang zuo bingzhong [<红娘>应予唱做并重]. Ji Bao, p. 2.
Shao, Cang. (1931). Di yi huadan Xun Huisheng [第一花旦荀慧生]. Xiju Yuekan, 3(8), 43–47.
Shi, Shu. (1930, March 20). Xiandai mingling zhuan: Xun Huisheng [現代名伶傳：荀慧生]. Liyuan Gongbao, p. 2.
Shunjiu. (1926, August 27). Xun Huisheng zhi wo guan [荀慧生之我观]. Shuntian Shibao, p. 5.
Tian. (1931). Xun Huisheng zhi “Chaitou feng” [荀慧生之<钗头凤>]. Xiju Yuekan, 3(8), 67–69.
Xiaoting Jushi. (1926, April 6). Tan Xun Huisheng zhi daomadan xi [谈荀慧生之刀马旦戏]. Xinwen Bao Benbu Fukan, p. 2.
Xinbao. (1939, November 30). Mingling dangtai huihua shi shiyu “Danqing yin” [名伶当台绘画 实始于<丹青引>]. Xinbao, p. 3.
Yide Xuanzhu. (1933, August 25). Xun Huisheng (V) [荀慧生【五】]. Yishi Bao, p. 9.
Downloads
Published
Issue
Section
License
Copyright (c) 2026 Idealogy Journal
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
UiTM Press (the Publisher) has agreed to publish the undersigned author’s paper in Idealogy Journal. The agreement is contingent upon the fulfilment of a number of requirements listed below.
1. The undersigned author warrants that the paper entitled below is original, that it is not in any way libellous or unlawful in Malaysia, that it does not infringe any copyright or other proprietary right. The undersigned hereby represents and warrants that he/she is the author of the paper, except for material that is clearly identified as to its original source, with permission notices from the copyright owners where required. The undersigned represents that he/she has the power and authority to sign and execute this agreement.
2. The undersigned author warrants that the paper entitled below has not been published elsewhere, and also it will not be submitted anywhere else for publication prior to acceptance/rejection by this Journal.
3. By submitting the paper entitled below, the undersigned author agrees to transfer the rights to publish and distribute the paper in an international e-journal (entitled above) to Publisher.
4. The undersigned author agrees to make a reasonable effort to conform to Publisher's submission guidelines and to liaise with the editor to ensure that the requirements of these guidelines are met to a reasonable degree.
5. The corresponding author signs for and accepts responsibility for releasing this material on behalf of any and all coauthors. This agreement is to be signed by at least one of the authors who has obtained the assent of the co-author(s) where applicable. After submission of this agreement signed by the corresponding author, changes of authorship or in the order of the authors listed will not be accepted.
