Propaganda in Modern Peking Opera

Propaganda in Modern Peking OperaPropaganda in Modern Peking Opera

During the Cultural Revolution during the latter half of the 20^th century, the newly empowered Communist Party of China made many changes to everyday life.  The primary goal of these changes was to establish and legitimize communism in the eyes of the people.  The most obvious means of accomplishing this goal was to make significant changes to those aspects of the culture with which the citizens interacted with frequently that would subtly sway their views into line with those of the CCP. One of the many pieces of Chinese culture that was used as communist propaganda was the Peking Opera. 

Prior to the changes made during the Cultural Revolution, the Peking Opera was a very traditional Chinese art form. The CCP, however, created eight model operas that were permitted to be shown due to their revolutionary themes and their distance from what Mao Zedong believed to be the “feudalistic” and “bourgeois” themes of traditional Peking Opera. In describing the new revolutionary model plays, Daniel S. P. Yang says, "The actor no longer declaims in the old formalized pattern but speaks in the every- day dialect of Peking. The story is unfolded not on a bare stage, but in realistic settings complete with naturalistic sound and lighting effects. The conventional elaborate costumes with their "water sleeves," the thick-soled boots, artificial beards, and symbolic make-up have been replaced by civilian costume and the drab uniform of today. Most significant of all, the plays no longer depict ancient heroes in their historical settings but portray contemporary people in their everyday lives. " (p. 167).  With the exception of these eight revolutionary model plays, most performances were prohibited barring major modifications to the story lines.  In fact, any performances without communist themes were banned.

The overarching theme of revolution was not the only form of propaganda in the modern Peking Opera.  There were also many symbols within the plays that supported communism and rejected the traditional way of thinking.  One of the revolutionary model plays, The Legend of the Red Lantern, was particularly filled with such symbolism as shown by the following excerpt.

 “GRANNY: We've had this lantern for 30 years. For 30 years it has lighted the way for us poor people, for workers. We have kept it through storm and stress. Your granddad carried this lantern, and now your dad carries it. It's bound up with all that happened last night and today, which you saw for yourself. I tell you, this red lantern is our family treasure. TIEH-MEI: Our family treasure? GRANNY: It's dark, time to get supper. (Puts the lantern carefully down and goes to the kitchen.) TIEH MEI (picks up the lantern to examine it carefully, puts it gently down, and pensively turns up the paraffin lamp). Granny has told me the story of the red lantern, Only a few words, yet how much it means. I have seen my father's courage, My uncles' willingness to die for it. What are they working for? To save China, save the poor and defeat the Japanese invaders. I know they are in the right, They are examples for the rest of us. You are 17, Tieh-mei, no longer a child, You should lend your father a hand. If his load weighs a thousand pounds, You should carry eight hundred. “

This excerpt leads one to understand the red lantern as a symbol for the communist spirit and the struggles that the Chinese people have endured to arrive at their current destination. It also serves as a means of demonstrating that what they have worked so hard for is a good thing by referring to it as a “family treasure”.  Furthermore, the fact that the characters appear as a common Chinese family serves to put into the minds of the audience that as common Chinese people themselves, this is how they should feel and the opinion they should have.

The various forms of propaganda found in the revolutionary models of modern Peking Opera were incredibly effective for a variety of reasons. First, they had an impact on a relatively large subject base. During these times, the Peking Opera was very popular and had large audiences in the major influential cities like Beijing and Shanghai. Secondly, by creating characters that were everyday citizens in modern times the message seemed appropriate for the audiences. Had the settings of these operas been in ancient times like traditional Peking Opera, the ideas entering the minds of the audience would not be as obviously relevant to their lives. Finally, the Peking Opera was a form of entertainment.  Individuals made the choice to attend these revolutionary model operas with their friends or their family and thus, any message received from the play could be justified as a thought of their own.

The eight model plays of modern Peking Opera were an effective propaganda technique employed by the Chinese Communist Party.  They served to not only legitimize the ideals of communism within the minds of the Chinese people, but also to indoctrinate them with the notion that they should feel as the characters feel, united in their drive to save China. The revolutionary model plays provided Chinese citizens with a revolutionary new form of entertainment that helped to ease their minds regarding the changes going on around them and to reassure them that their thoughts were normal. By banning all plays without communist themes, the CCP established itself as not just the dominant political party in China, but also as the party who was doing the right thing and would lead the citizens to a successful and happy future.

Works Cited

Clark, Paul (2008). The Chinese Cultural Revolution: A History. Cambridge; New York: Cambridge University Press

Yang, Daniel S. P. "Peking Drama with Contemporary Themes." The Drama Review: TDR 13.4 (1969): 167-80. Web.