Peking opera, also known as Pingju or Jingxi, is the most influential Chinese opera. It is distributed throughout the country with Beijing as the center. Starting from the 55th year of Emperor Qianlong's reign in the Qing Dynasty, the four major Anhui troupes, Sanqing, Sixi, Chuntai and Hechun, which originally performed in the south, entered Beijing one after another. They cooperated with Han opera artists from Hubei, and accepted some repertoires, tunes and performance methods of Kunqu and Qinqiang, and absorbed some local folk tunes. Through continuous communication and integration, Peking opera was finally formed. In literature, performance, music, stage art and other aspects, Peking opera has a set of standardized artistic expression programs. The singing style of Peking opera belongs to the board-style variation, with Erhuang and Xipi as the main vocal styles. Siping tune, anti-Siping tune, Han tune, etc. are all subordinate to Erhuang, while Nanbangzi and Wawa tune are subordinate to Xipi. Erhuang has a steady melody, a slow rhythm, and a thick and solemn singing style; Xipi has a large melody with a compact rhythm and a bright and smooth singing style. Peking opera accompaniment is divided into two categories: civil and martial. The civil use of huqin (jinghu), jingerhu, yueqin, string, flute, suona, etc., with huqin as the main instrument; martial use of drum board as the main instrument, followed by small gong and big gong. Peking opera roles are divided into Sheng, Dan, Jing, Chou, Za, Wu, and Liu. The last three are no longer separate. There are more detailed divisions within each line, such as the Dan line has Qingyi, Huadan, Daomadan, Wudan, and Laodan. In addition to the natural attributes of the characters, the main basis for the division is the character's personality characteristics and the creator's praise and criticism of the characters. Each line has a set of performance routines, and the skills of singing, reciting, acting, and fighting are unique. Peking opera mainly tells historical stories. There are more than 1,300 traditional plays, and more than 300 or 400 are often performed. Among them, "Yuzhou Feng", "Yutangchun", "Changbanpo", "Gathering of Heroes", "Fishing and Killing the Family", "Empty City Plan", "Drunken Concubine", "Sanchakou", "Wild Boar Forest", "Second Visit to the Palace", "Picking up the Jade Bracelet", "Picking the Carriage", "Four Scholars", "Searching for Orphans and Saving Orphans", "Farewell My Concubine", "Silang Visits His Mother" and other plays are well-known to the audience. After the founding of New China, Peking opera adapted, transplanted and created some new historical plays and modern works, including "The Reconciliation of the General and the Prime Minister", "Mu Guiying Takes Command", "The Female Generals of the Yang Family", "Hai Rui Dismissed from Office", "Cao Cao and Yang Xiu", "Sha Jiabang", "The Red Lantern", "Taking Tiger Mountain by Strategy", "Dino", "Camel Xiangzi" and so on. There are two types of Peking opera: the Beijing style and the Shanghai style. Many outstanding actors have appeared in different periods, such as Cheng Changgeng, Yu Sansheng, Zhang Erkui, Mei Qiaoling, Tan Xinpei, Sun Juxian, Wang Guifen, Liu Hongsheng, Tian Guifeng, Yu Ziyun, Chen Delin, Wang Yaoqing, etc. in the late Qing Dynasty, and Yu Shuyan, Yan Jupeng, Gao Qingkui, Ma Lianliang, Yang Baosen, Mei Lanfang, Cheng Yanqiu, Xun Huisheng, Shang Xiaoyun, Zhou Xinfang, Jin Shaoshan, etc. in the Republic of China. Peking opera has spread all over the country and has a wide influence. It is known as the "national opera". It has traveled all over the world and has become an important means of introducing and spreading Chinese traditional culture. The Peking opera performance system named after Mei Lanfang has been regarded as a representative of the oriental drama performance system, and is known as the world's three major performance systems together with the Stanislavsky and Brecht performance systems. Peking opera is an important form of expression of China's national traditional culture, and many of its artistic elements are used as symbols of Chinese traditional culture. However, with the changes in society in recent years, the distance between Peking Opera art and the aesthetic taste of contemporary people has gradually widened, the audience has dropped sharply, and the repertoire has shrunk. How to achieve the protection and revitalization of Peking Opera has become an issue that needs to be urgently addressed.