Chinese opera, national drama of the world's most populous country, is exciting to both the ear and eye of the beholder. Combining singing and dance, it includes stylized pantomime as well as strenuous acrobatics. Chinese opera was formerly known as Ching Hsi, or opera of the capital, Peking. When the name of Peking was changed to Peiping, the form became known as Ping Chu, or Peiping opera. Now, it is recognized as Kuo Chu or national drama, since it is a genuine Chinese art form which upholds traditional virtues such as loyalty, filial piety, chastity, justice and righteousness.

No matter what its name, however, there is no doubt that strenuous efforts must be made to save this ancient art from extinction. The biggest reason for the decline of Peiping opera is the fact that its classical language is difficult for members of the younger generation to understand. But once they realize its true meaning, they fall in love with it.

In Taipei, performances of Chinese opera are staged regularly in only one theater--the Cultural Center of the Armed Forces. Though audiences are usually made up of old people, the proportion of younger spectators is growing. Most of them are inspired by curiosity, since the belief that Chinese opera is only for the older generation dies hard.

In recent years, however, young people have started to search for the roots of Chinese stage art. They have reached the consensus that if this art is to recapture its former appeal, it must be presented in a modern form using the latest techniques. Without this, the younger generation cannot be expected to identify with it.

Among recent efforts to reform Chinese opera is the "Ya Ying Hsiao Chi" initiated by Kuo Hsiao-chuang. Though it was not strikingly successful, it aroused the interest of the general public. Kuo's efforts did at least jolt the Chinese opera establishment into realizing that change is long overdue. His work might mark a turning point in the renaissance of Chinese opera.

Such a renaissance has always been the aim of the government of the Republic of China. Since it moved from the mainland to Taiwan in 1949, the government has made every effort to keep Chinese opera alive. At present, Taiwan has four Chinese opera schools, one operated by the Ministry of Education and the rest sponsored by the three branches of the armed forces.

The Fuhsing opera school coming under the Ministry of Education was founded by Wang Chen-tsu in 1957. Some 120 students were enrolled in the first year, making Fuhsing easily the biggest school in Taiwan. When high operational costs forced Wang to withdraw from the school in 1968, it was taken over by the ministry. Wang stayed on as principal until his death last year, when Liu Po-chi took over. Liu's first project was to set up an experimental theater to provide more opportunities for students to put on performances.

Of the three Chinese opera schools, Ta Peng of the Air Force is the oldest. Its success in training a number of accomplished performers must be put down to the efforts of Commander-in-Chief Gen. Wang Shu-ming. It was "Tiger" Wang who accepted Miss Hsu Lu, who was later to become one of the best Peiping opera artists ever trained in Taiwan, as one of the school's students.

In its first year, 1955, the school accepted only seven students, who were trained in acrobatics as well as singing and dancing. Today, the school has four classes for which students are enrolled every other year. A chronic shortage of funds at the school has not resulted in reduced standards, although enrolments have been limited.

The Lukuang opera school of the army is credited with achieving the best results of all. It has a reputation for strictness, and some students are even subjected to mild corporal punishment. A teacher, Tung Shih-chung explains: "Only the best students receive this type of punishment. Though we feel uneasy after caning our students, it helps to make them realize that at least we feel they have the potential to be trained. He continues: "Training for an opera performer is very demanding. An actor with potential will never become a national treasure if he is spoiled."

Perhaps as a result of this training, professional levels of graduates from the school are the highest in Taiwan, although their individual talents may not always be the best. They are all regarded as being above average, however. A student explains: "We have no aspirations to be stars in our school. But our teachers regard us as pieces of newly mined jade which have to be polished and made into shining jewels."

Lukuang students are among the most privileged among all Peiping opera trainees. Every weekend, teachers and students are busy preparing for the weekly performance so every student can have the opportunity to practice immediately after learning in the classroom.

The obsolete school building will soon be replaced by a roomy concrete structure which will boost the size and scope of the school up to those of Fuhsing, and cut out traffic noise which disturbed the students', concentration in the past.

The latest arrival in the field is the Haikuang opera school of the Navy. Because the school was originally located at an out-of-the-way naval base at Tsoying in southern Taiwan, students had little chance to perform, and it was hard to recruit teachers. Since the school was moved to Tamsui close to Taipei in northern Taiwan, students have had more exposure and have become more famous, they are known as the "dark horses" of the opera world because of their recent arrival.

The three schools are all different in size and scope, but have one thing in common: All recruit their students from the fourth grade at primary school and pay for all expenses, including tuition, board, lodging, transportation and clothing. In the first two years, kung fu training is stressed, including a form called "blanket kung fu" which is mainly made up of doing somersaults on thick blankets. Another type, known as "target kung fu," involves training in the use of primitive arms, including knives, swords and spears.

After completing the basic training, students are divided into four professional groups according to their aptitude. Even after this, basic training is continued. After eight years, students are considered to be fully trained, and any further instruction must come through private teachers or tutors.

While it is true that the students cannot match the skills of ancient exponents, they do have greater potential than their predecessors, many of whom were illiterate. Book studies enable newcomers to achieve higher accomplishments.

Veteran artists like to teach in these schools because they are possessed by their love of Chinese opera. As they are getting old, they are eager to see a new generation carry on the torch for this national art. Chinese opera received a severe setback on the Chinese mainland as a result of the "cultural revolution." Quite a few of the old artists were tortured to death or committed suicide. The new generation may be better acrobats, but this does not mean they are good exponents of Chinese opera. Development of the art depends on the hard work of the young people the government has cultivated in Taiwan for the last more than 20 years.

[Picture Caption]

1. Students practicing gymnastics in the National Fuhsing School of Dramatic Arts. 2. Li Ling-lu and Chou Lu-ling in a scene from Fei, Fei, Fei. 3. 4. Military dramas feature fast action and gymnastics. 5. 7. Hu Lu-hei making up and on stage. 6. Chinese opera is a "total drama" that includes elements of the singing, speaking, dancing and theatrical arts.

Students practicing Kung fu. 1. Patsu is the most basic art of Kung fu. 2. The art of Hsia-yao must be practiced from early youth to ensure perfection. 3. The somersaults of the Tan-tsu art are a source of wonder to audiences.

1. Those learning to play the roles of comedian, warrior, bandit, or other robust parts wear special high-soled boots resembling ballet shoes. 2. An actor wearing high-soled boots to enhance his stature.

Teaching future Kung fu stars.

Li Ling-lu and Chou Lu-ling in a scene from Fei, Fei, Fei.

Military dramas feature fast action and gymnastics.

Military dramas feature fast action and gymnastics.

Hu Lu-hei making up and on stage.

Hu Lu-hei making up and on stage.

Chinese opera is a "total drama" that includes elements of the singing, speaking, dancing and theatrical arts.

Patsu is the most basic art of Kung fu.

The art of Hsia-yao must be practiced from early youth to ensure perfection.

3. The somersaults of the Tan-tsu art are a source of wonder to audiences.

hose learning to play the roles of comedian, warrior, bandit, or other robust parts wear special high-soled boots resembling ballet shoes.

An actor wearing high-soled boots to enhance his stature.

Teaching future Kung fu stars.

Teaching future Kung fu stars.

Teaching future Kung fu stars.