Beyond convention: Xun Huisheng’s innovations in Qingyi and Huadan performance aesthetics

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. Utilising 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 theatre forms, particularly Bangzi opera, to forge a performance aesthetic characterised 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 modernisation. 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.