The characters staged in Peking opera are not based on the appearance of people in daily life. The appearance of women on the stage began unofficially during the 1870s, when female performers began to play male roles and declared equality with men. Peking opera was originally an exclusively male pursuit. For example, melodies were simplified, and were played with different traditional instruments than those used in earlier forms. The new form then began to create its own innovations. From 1840 to 1860, it finally congealed as a mixture of elements of Qinqiang opera, Hanju opera, certain strengths of Kunqu opera, and local tunes of Beijing. Peking opera is a fusion of some older operatic forms. Their performances soon found an audience, marking the beginning of the more than 200 years of history of Peking opera.

In 1790, to celebrate the eightieth birthday of the Qianlong Emperor (reigned 1736-1795), the Four Great Anhui Troupes brought Huiju opera to Beijing to join the celebration. Due to the strong mobility of Huiju troupes, performers were exposed to frequent contact with other types of drama, incorporating different regional musical systems and tunes.

Peking opera grew out of Huiju opera, a folk opera originally popular in the regions south of the lower reaches of the Yangtze River in the early Qing Dynasty (1644-1911). Peking opera is the dominant form of Chinese opera, combining music, vocal performance, mime, dance, and acrobatics.

Its vocal tones are mainly composed of Xipi and Erhuang, to the music played by such instruments as huqin, gong, and drum. Peking opera is one of the five major traditional operas in China.

Beijing peking opera theatre