Shengzhou Yue Opera Museum

Shengzhou Yue Opera Museum

Situated at the foot of Lutai Mountain in Shengzhou’s urban area, with a construction area of over 2,253 square meters, it is the first professional drama museum in China. With the care and support of higher authorities such as the Ministry of Culture, the National Cultural Heritage Administration, the Zhejiang Provincial Department of Culture, the Zhejiang Provincial Cultural Heritage Administration, and the People’s Government of Shengzhou City, it was completed and opened on October 18, 1990. The total investment was 1.31 million yuan, with a construction area of 2,253.06 square meters. Nestled at the foot of Lutai Mountain—the birthplace of Yue Opera in Zhejiang Province—and adjacent to the scenic “First Tower Over the Stream” by the Shanyan River, it is also connected to the Yue Opera House, known as the “Cradle of Yue Opera Artists.” The ever-spring-like Lushan Mountain, the classic and elegant architecture, and the melodious Yue Opera tunes blend seamlessly, making it another popular tourist destination.

The Yue Opera Museum features an exhibition on the development history of Yue Opera, housing a large collection of precious cultural relics, historical materials for visiting and research. The exhibition is divided into three halls and one corridor, comprising over 140 display panels, 758 life and stage photos of celebrities from different eras, and 327 artifacts. It systematically reflects the evolution of Yue Opera, showcasing the challenges it faced, the continuous reforms and innovations, and the journey toward prosperity. The first hall covers the three periods: Ludi Changshu (Ground Singing), Xiaogeban (Small Song Class), and Shaoxing Wenxi Male Troupe; the second hall covers Shaoxing Wenxi Female Troupe and Women’s Yue Opera; the third hall represents the period of flourishing development after liberation; and the exhibition corridor introduces artistic exchanges and vocal art characteristics.

The museum will continue to collect Yue Opera historical materials and artifacts to further improve and enhance its offerings. It will also organize Yue Opera art seminars at appropriate times to better fulfill its mission, striving to make due contributions to the revitalization and development of Yue Opera and the nation’s modernization. From its planning to completion and opening, the persons in charge included Ding Yi, Ying Haimin, and Qian Yonglin. In January 1994, Gao Yueying was officially appointed as deputy director.

Exhibition Hall Introduction

First Exhibition Hall. This hall represents the origin period of Yue Opera, divided into three stages: Ludi Changshu (Ground Singing), Xiaogeban (Song Class), and Shaoxing Wenxi Male Troupe. “Ludi Changshu” was a form of folk storytelling and singing that emerged in the mid-19th century in Sheng County. It was often performed in fields during work or rest breaks, and later developed into door-to-door performances. In the early 20th century, it evolved into “singing on a stage,” and in 1906, performances began on proper stages, referred to as “Xiaogeban” or “Didouban.” March 5 of that year was designated as the birthday of Yue Opera. In 1922, Xiaogeban performed at Shanghai’s “Great World,” where the advertisement in the Shanghai newspaper Shenbao referred to it as “Shaoxing Wenxi,” hence Yue Opera also became known as “Shaoxing Wenxi.” Since all performers were male at the time, it was also called “Shaoxing Wenxi Male Troupe.” This hall displays props and makeup items used by performers in the origin period of Yue Opera. Instead of rouge, they used ordinary red paper, and instead of eyebrow pencils, they used soot from kerosene lamp wicks. The performance stage was formed by placing two rice barrels upside down, laying a few wooden beams across them, and covering them with a few door panels to create a “small makeshift stage.” Also displayed here is the shocking “Contract” (Guanshu), which reads: “Three years as an apprentice, one year assisting the master. Violation of troupe rules will be met with severe punishment, even death. Life, aging, sickness, and death are left to fate.” The contract starkly reveals the hardships faced by performers in learning their craft under the old society, reflecting their tragic fate from one perspective.

Second Exhibition Hall. This section introduces the development period of Yue Opera, divided into the Shaoxing Wenxi Female Troupe and Women’s Yue Opera stages. In the 1920s, female Xiaogeban troupes began to be organized and performed in Shanghai under the name “Shaoxing Wenxi Wenchu Female Troupe.” By the mid-1930s, “Shaoxing Wenxi Female Troupe” was commonly referred to as “Women’s Yue Opera,” which is the origin of the opera’s name. This hall displays various photos of “Xiao Baiyumei,” “Three Flowers and One Juan,” and the “Ten Sisters of the Stage.” It also introduces the reform of “New Yue Opera” led by Yuan Xuefen of the Shanghai “Xuesheng” Troupe, where the performance of “Xianglin Sao” marked a significant breakthrough in content for Yue Opera reform. Additionally, it showcases the reform of “Didouxi” (Dida Opera) in the Siming Mountain revolutionary base areas under the direct leadership of the Chinese Communist Party from 1943 to 1945. In the old society, the fate of performers was tragic. The exhibition tells the story of “Yue Opera Queen” Xiao Dangui, who committed suicide on October 13, 1942, at the age of 27, unable to bear the oppression of the opera tycoon Zhang Chunfan. There is also the story of the 21-year-old young male lead Ma Zhanghua, who was surrounded by reactionary forces, suffered immense pressure, and died of exhaustion and depression. These personal belongings and portraits serve as deep reminders.

Third Exhibition Hall and Corridor. This section showcases the golden age of Yue Opera after liberation. Upon entering the hall, prominent photos of leaders such as Chairman Mao Zedong and Premier Zhou Enlai meeting Yue Opera performers are displayed. From this, we learn that under the care of the Party Central Committee, Yue Opera flourished rapidly, achieving fruitful results in playwriting, performance art, music and vocal styles, and talent cultivation. Yue Opera gradually developed a delicate, graceful, elegant, lyrical, and soothing artistic style, allowing it to spread from Shengzhou to Shanghai and across the nation, becoming China’s second-largest opera genre after Peking Opera.

Address: No. 8 Baibu Street, Shengzhou City, Shaoxing, Zhejiang Province

Type: Museum

Opening Hours:

Off-season: 8:30–16:00; Peak season: 8:00–16:30

Ticket Information:

Free admission.

Further Reading:

· National Third-Class Museum of China