Tradition and Symbolism in Revolutionary Peking Opera (1966–1976)

The Chinese Cultural Revolution (1966–1976) saw the rise of the so-called ‘model plays’ (yangbanxi), including five revolutionary Peking operas idealized by Jiang Qing, Mao Zedong’s wife and a cultural authority of the era. These retained traditional elements like gestures and acrobatics while incorporating a Western-style orchestra and simplified character roles to clearly depict heroes and villains. Laden with emotion and thus evoking a deep revolutionary sentiment in the masses, model operas embodied values from various Chinese schools of thought, such as revolutionary interpretations of Confucian family values, self-criticism, and education to perpetuate societal norms. Based on this assumption and analyzing libretti and film versions from the 1970s of the first five model operas, this study demonstrates how these elements helped the masses grasp the advocated ideals and distinguish Good from Evil as defined by the communists. It argues that, despite the authorities’ skepticism toward traditional thought, these elements significantly influenced the creation of the new operas, showcasing their lasting impact.