清代中叶,山陕梆子流入河北,经数十年的衍变,于道光年间形成河北梆子。从19世纪70年代到20世纪20年代,在河北梆子兴盛时期内,河北梆子与锐气正盛的京剧争胜一时。光绪中叶,京剧、河北梆子两剧种同班演出,谓之“京、梆两下锅”。这以后,京剧、河北梆子两大剧种不断交流、融合、促成了两大剧种进一步的发展、完善。剧目的交流从总体剧目的历史状况来看,我们认为,就传统戏讲,京剧剧目大部移自梆子。“四大徽班”晋京剧目除昆腔仍照原样演唱外,余者并不十分丰富,如程长庚所演之剧目,也是昆多于徽,齐如山先生记日:“他(指程)尽唱老头说书(指昆曲《弹词》),不唱《文昭关》。”鉴于此,则大量从秦腔中汲取养分。据梆子前辈艺人郭宝臣之徒张德甫老先生讲:“《法门寺》 In the middle of the Qing Dynasty, Shanshan prickly heat into Hebei, after decades of evolution, during the formation of Daocheng Hebei prickly heat. From the 1870s to the 1920s, during the rise of Hebei Bangzi, Hebei Bangzi and Qijing Shengshi enjoyed a momentous victory. Mid-Guangxu, Peking Opera, Hebei clapper two plays with the same class performance, that “Beijing, Hong two pot.” Since then, Peking Opera, Hebei Bangzi two major types of continuous exchange and integration, contributed to the further development and improvement of the two operas. Repertoire exchange From the historical situation of the overall repertoire, we think that, in the traditional drama, most of Beijing Opera’s repertoire has shifted from princes. In addition to Kunqu Opera, the Jinju plays of the “Four Great Emblem Classes” are not as rich as they are originally sung in Kunqu Opera. For example, the repertoire played by Cheng Changgeng is also Kunqu more than the emblem. To sing the old man said the book (Kunqu opera “storytelling”), do not sing “Wen Zhaoguan.” “In view of this, a lot of nutrients from the Qin cavity. According to the elder artist Guo Baochen actor Zhang Defu old man said: ”“ Famen Temple ”