The double reed of the quyi performance was first named in the last years of the Qing Dynasty, and it is said that it was named by the Empress Dowager Cixi. Double reed is a flexible, humorous and humorous music show, which absorbs the language and skills of cross talk, and the performance is very much like a puppet show. The founder of the double reed is generally considered to be Huang Fuchen, a hard-book (self-playing and singing) artist in the late Qing Dynasty, who created this form of performance.
In a double reed performance, one of the actors in the front performs the movements, and the person hiding in the back either speaks or sings, as if the actor in front is acting and singing on their own. This format is unique and charming, allowing the audience to enjoy the action performance while listening to the wonderful dialogue and singing, which is very interesting.
Nowadays, double reeds are still active in the art stage and are widely used in cross talk performances. Through the expression of double reeds, the performers can convey jokes and emotions more vividly and interestingly, so that the audience can feel the cultural connotation and aesthetic significance contained in it while being entertained.
The charm of the double reed performance lies in its unique form of expression and rich performance connotation. With the change of the times, there may be new ways of development and expression, but its traditional charm and artistic characteristics will always be cherished and inherited. In today's society, the importance of protecting and promoting traditional culture is becoming increasingly prominent, and the double reed, as a precious treasure of Chinese opera performances, needs more attention and support to retain its unique style and historical and cultural value.