Revolutionary opera

Revolutionary operas, also known as yangbanxi, were a specific series of theatrical works in mainland China. They were engineered during the Cultural Revolution, which lasted from 1966 to 1976. These shows were designed to be modern and revolutionary in both music and theme. Unlike traditional Peking opera, which often featured emperors, kings, or beautiful maidens, these operas told stories of recent struggles. They focused on the bravery of common people and the People's Liberation Army. The goal was to show the victory of communism and the importance of Mao Zedong Thought.

The creation of these operas involved a radical transformation of existing art forms. Jiang Qing, the wife of Chairman Mao Zedong, was the chief engineer of this change. She used the traditional Peking opera as a "laboratory" for her experiments. The content shifted from "feudalistic" historical tales to stories about class enemies and revolutionary struggles. This process changed how stories were told and how music was structured. The new works were meant to serve as a proletarian statement for the masses.

The original collection of model operas consisted of eight specific works. These works used different theatrical mechanisms to reach audiences. Five of the plays were modern Peking operas, such as The Legend of the Red Lantern and Shajiabang. Two were ballets, including Red Detachment of Women and The White-Haired Girl. One work, Shajiabang, was also expanded into a symphony. This symphony used a full Western orchestra and featured eight movements. It was musically similar to the style of Beethoven's ninth symphony.

As time passed, the number of model operas grew from eight to eighteen. After 1969, new plays like Azalea Mountain and Battle in the Plains were produced. These followed the original models in both form and content. Interestingly, some works even swapped genres. The ballet Red Detachment of Women was eventually adapted into a Peking opera. Conversely, the Peking opera Azalea Mountain was adapted into a ballet. However, these later versions did not achieve the same level of popularity as the originals.

These operas were not just for elite audiences in theaters. They became the only form of mass theatrical entertainment in China at the time. They were performed on stages, broadcast on the radio, and turned into films. Mobile film units traveled to the countryside to play cinematic recordings for people. People also heard the music through loudspeakers in schools, factories, and even in fields. The operas were so widespread that people joked that "eight hundred million people watched eight shows."

The cultural impact of these works extended to almost every part of daily life. Because they were considered symbols of the new socialist era, they appeared on many objects. You could find images of the operas on LPs, comic books, posters, and postcards. They were even printed on everyday items like stamps, teapots, wash basins, and cigarette packages. This constant presence meant that ordinary citizens were very familiar with the music. Many people would sing the arias in their homes or on the streets.

Many of these narratives were used to promote state feminism. Most of the eight model dramas featured women as their main protagonists. These characters often began as oppressed by class position or imperialism. They eventually found their own internal strength through the Communist Party. In these stories, the villains were consistently male. This provided a new standard of conduct for both officials and ordinary people. Characters were expected to accept hardship first and focus on the needs of the masses.

Even decades after the Cultural Revolution, these works maintain some artistic significance. Some of the operas have been sent on international tours. For example, the China Central Ballet has performed Red Detachment of Women in cities like Los Angeles and New York. Modern audiences have marveled at its "hybridity," which mixes revolutionary ideas with exotic music and high European styles. Some works, like the ballet Red Detachment of Women, even reached global leaders like Richard Nixon. While they remain tied to a specific political era, their unique music and dance continue to be studied and performed.