19世纪末20世纪初,各地移民的大量涌入,使大连成为各种文化汇集的地区。此时,南来北往的曲艺班社和艺人经常来连流动演出,将东北大鼓和二人转、河北的评书、天津的曲艺和相声、山东的柳琴等曲艺形式传入大连。因它的表现形式丰富多样,内容题材贴近底层百姓,而成为深受大众喜爱的民族民间艺术形式之一。在殖民统治时期的大连地区,曲艺作为中华民族传统文化的重要方面,虽然受到殖民当局大肆推行的奴化教育和殖民文化的高压,但是它仍然倔强地生存和发展。 From the late 19th century to the early 20th century, the influx of immigrants from all over the country made Dalian a district where all kinds of culture came together. At this point, the folk art troupes and artists who traveled south and south often came to Dalian for performances in the form of folk songs, often using northeastern bass drums and duos, Hebei storytelling, Tianjin folk art and crosstalk, and Liuqin in Shandong. Because of its rich and varied forms of expression, the theme of the content close to the underlying people, and become loved by the public one of the national folk art forms. During the period of colonial rule in Dalian, as an important aspect of the traditional Chinese culture, Quyi still survived and developed stubbornly despite the high pressure from the colonial authorities for enslavement education and colonial culture.