Comment on “A study on the ancient theater of official house in the Taihang mountain area of north Henan province in China”Peng and Li (2023) contribute to the theater history in China by documenting eight Taihang Mountain theaters in North Henan, some of which were unknown. The study of the Taihang Mountain Official Residence Theater provides insights for the protection of rural theaters and the transformation of cultural heritage in China. It gives new data about the regional variations in Chinese opera architecture, especially in rural areas. It emphasizes the value of performance and ritual, and the social functions of theaters in the Taihang Mountain area.
These eight official house theaters are located in different villages: Three of them are located in Duli Town, Anyang County, in East Lingxi, Nanyangcheng, Dongshui, and Jiaoling villages. Two of them are located in Linzhou City and Heshun Town. Another one is located in Lingxi Village. The last one is posed in North Dongpo Village. Nancun Town, Huixian County. Taihung’s theaters of the official house are more architectural and places for religious worship and theater performance. Dapingdiao was a kind of opera performed in late Qing northern Henan and southern Hebei, and staged in spring and autumn. Theaters in Henan and Hebei were for public entertainment as well as demonstrating people’s beliefs and rituals. Their rural area is a mix of cultural heritage and art exhibitions. The detailed measurement of the theaters’ width and height makes readers comprehend the oldness of the theaters in the Taihang Mountain area.
The main focus of Peng and Li (2023) is the lack of protection and attention to the Taihang Mountain area theaters in spite of their cultural value. Not only does it argue for the preservation of the physical building, but it also discusses the cultural heritage and traditional performance of theaters in the Taihang Mountain area. The inscriptions on the walls and steles of traditional Chinese opera, recording dates, repertory titles, troupes, and sponsors, enrich our understanding of social cohesion, historical narratives, local ceremonies, and community performance practices during the Qing dynasty. The article stresses the urgent heritage preservation and conservation measures to be taken in the Taihang Mountain area (Peng; Li, 2023).
There is a concern that the structure of some of these theaters is in danger and faces destruction without protection, in spite of the fact that some are well preserved by the government. One of the official house theaters in East Lingxi Village was rebuilt in the 10th year of Tongzhi’s reign after collapsing due to strong wind and rain. The local people believe that the completion of the theater will bring happiness to the gods as well as good luck to the community. The official houses in the Taihang Mountain area were destroyed but were rebuilt during the Qing Dynasty, and in some of them, opera sculptures as well as upper and lower doors were well preserved. Some Dapingdiao artists’ names from Anyang were also preserved with the wall inscription.
Although the study demonstrates the structure, geography, folk culture, and agricultural context of the Taihang official house theaters during the Qing dynasty in Northern China, it could benefit from comparison with other rural performance spaces in China to deepen and broaden the knowledge of people about the cultural and historical frame of Chinese theaters in different parts. While Taihang official house theaters had an ancient theater architectural format, there were open opera stage squares in public spaces in the Southern Chinese village of Sanjiang region in Guangxi, where social gatherings and performances were held. Taihang official house theaters are similar to southern open-air village stages in that they support performance accompanied by ritual and public life (Chen, Chun; Liu, 2021).
Roger Howard (2022) in Contemporary Chinese Theater addressed the rapid growth of theater in 1949. By 1996, some rural peasant dramas flourished, and the amateurs performed short operas, one-act plays, dances, and songs. Not only did they aim to entertain people, but they also taught people social values. They increased the cultural level of the workers and peasants, and raised the knowledge of the state and the international communist movement. In the early 1960s, Shanxi recovered rapidly from disaster before the arrival of the Cultural Revolution chaos. During this period, the communists seized the opportunity to strike a balance between modern didactic performances and traditional operas. In conclusion, the study draws readers’ attention to the richness of performance contexts and the broader social significance of traditional Chinese opera. It can be said that the integration of cultural heritage, theater performance, and rituals could help traditional Chinese operas change into living heritage sites, and emphasize understanding the historical position of Taihang Mountain theaters.
References
- CHEN, X. M.; CHUN, T. L. M.; LIU, S. Y. Rethinking Chinese social theaters of reform: performance practice and debate in the Mao Era. Michigan: University of Michigan Press, 2021.
- HOWARD, R. Contemporary Chinese Theater. London: Routledge, 2022.
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PENG, H.; LI, H. A study on the ancient theater of official house in the Taihang mountain area of north Henan province in China. Trans/Form/Ação: Unesp journal of philosophy, Marília, SP, v. 46, Special Issue Oriental Philosophy, p. 153-178, 2023. Available at: https://revistas.marilia.unesp.br/index.php/transformacao/article/view/13537
» https://revistas.marilia.unesp.br/index.php/transformacao/article/view/13537
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Data availability statement:
The dataset for this article is available in the SciELO Dataverse of the Trans/Form/Ação Journal, at the link: https://doi.org/10.1590/0101-3173.2025.v48.n6.e025167
The dataset for this article is available in the SciELO Dataverse of the Trans/Form/Ação Journal, at the link: https://doi.org/10.1590/0101-3173.2025.v48.n6.e025167
