河北梆子從山西、陜西梆子脫胎而出，經(jīng)河北人民按照自己的語言音調(diào)、文化特點(diǎn)、生活習(xí)俗改造后，發(fā)展為一種新劇種。天津并設(shè)立了河北梆子科班，致使人才濟(jì)濟(jì)、高手如云。當(dāng)時(shí)的演出場所茶園，成了河北梆子的一統(tǒng)天下。
特別是庚子事變前后，在天津出現(xiàn)的直隸新派梆子，即 “衛(wèi)派梆子” ,影響更大，不僅成了河北梆子的主流派，而且大舉進(jìn)軍京城，并且擴(kuò)展到外埠各地。
“衛(wèi)派梆子” 的顯著特征是： 老生行當(dāng)創(chuàng)造了新腔。當(dāng)時(shí)，河北梆子界最紅的演員是魏聯(lián)陞，藝名小元元紅。他扮相英俊，嗓音高亢，既擅演唱，又善刻畫人物。他演出的《戰(zhàn)北原》、《大蝴蝶杯》、《南北合》等戲，都很成功。
天津西郊大孫莊王慶林，藝名銀達(dá)子，最初拜老達(dá)子紅為師，學(xué)河北梆子老生，其演出場狀并有幾分與小元元紅的 “神似” ,他還把京劇唱法中的 “氣口”技巧和大鼓中發(fā)音吐字的方法，融化入河北梆子之中，成為馳名全國的河北梆子演員。
從民國初期到解放前夕，河北梆子在津的演出，主要在天桂、北天仙、大樂、慶云、寶興、丹桂、新天仙、天華景、中華等戲院，并在京東、冀南、錦州等地巡回演出。
尤其是衛(wèi)派梆子女伶的出現(xiàn)，既推動(dòng)了河北梆子藝術(shù)，又促進(jìn)了旦角藝術(shù)的發(fā)展，可以說是戲劇舞臺(tái)的一次革命。在舊社會(huì)不容許婦女登臺(tái)演出，天津開埠較早，受到西方文化影響，女伶在天津首開戲劇舞臺(tái)之先。當(dāng)時(shí)知名的河北梆子女演員就多達(dá)數(shù)十位，如當(dāng)時(shí)有“梆子大王”之稱的金鋼鉆及小香水、劉喜奎等。1912年，天津女伶應(yīng)邀赴京演出，開女演員京城公演之先，并一度使河北梆子獲取了北京劇壇的主導(dǎo)權(quán)。一些報(bào)刊載文驚嘆： “衛(wèi)派梆子” “唱做俱佳” ,“男伶幾無立足之地” 。
20世紀(jì)40年代，銀達(dá)子與金鋼鉆搭班，比較固定的在天津的中華茶園(今中華曲苑)演出，并幫襯和提攜過后來成為著名表演藝術(shù)家的韓俊卿。韓俊卿從小被賣到河北雄縣韓勝恒家，十歲便能演整出戲了。很快成為青衣、花旦、武生、刀馬、彩旦兼長的演員。1928年春到天津衛(wèi)演戲，因患天花而嗓音沙啞，生活無著。銀達(dá)子便收她搭班，使她在河北梆子傳統(tǒng)的藝術(shù)上成就了大業(yè)。

·銀達(dá)子劇照(左)

Originating from the Bangzi operas of Shanxi andShanxi,it absorbed Hebei`s tone,culture and daily lifeand grew into a new genre,Hebei Bangzi TrainingProgram was established in Tianjin ,which cultivatednumerous talents. Hebei Bangzi was performed in nearlyall the tea houses in Tianjin.
Especially after the Gengzi Event,Zhili NewBangzi,namely Wei Bangzi,came into being in Tianjinwhich had a greater impact not only becoming themainstream of Hebei Bangzi but being played in Beijingand other provinces.
The outstanding feature ofWei Bangzi was that it created anew tone of the elderly character.At that time,the most famousactor in Hebei Bangzi was WeiLiansheng whose stage namewas Little Yuanyuanhong. Hehad a handsome appearance anda vigorous voice and was good atsinging and portraying characters.Operas like Fighting on theNorthern Plain and Big ButterflyCup and Union of South andNorth were great successes.
Wang Qinglin with a stagename of Silver Dazi from Tianjin`s suburb the DasunVillage learned from Old Dazi of how to be an oldcharacter of Hebei Bangzi and whose performance had akind of common with Little Yuanyuanhong in spirit. Healso combined the breath-mouth singing skill in BeijingOpera and the way of uttering words in Big Drum intoHeibei Bangzi and thus became a famed Hebei Banghziactor nationwide.
From the early Republic of China to the eve of theliberation,Hebei Bangzi performance in Tianjin mainlywere showed at the theaters like Tiangui,Beidaxian,Dale,Qingyun,Baoxing,Dangui,Xintianxian,Tianhuajing,and Zhonghua,and also made round showsin the east of Beijing,south of Hebei and Jinzhou,etc.

·著名河北梆子演員韓俊卿

The appearances of actress in Wei Bangzi,in particular,promoted Hebei Bangzi and femalecharacter`s performance. This was a revolution forthe opera,because feudal China did not allow womanto perform,only Tianjin was open and influencedby the western culture. There were dozens of femalecharacters such as Jingangzuan,Xiaoxiangshui and Liu Xikui.In1912,Tianjin female actresseswere invited to perform inBeijing,which was the firsttime. Hebei Bangzi acquired themonopoly of opera performancein Beijing. Some newspaperexclaimed that Wei Bangzi was"adept at singing and acting",and"male actors nearly did not haveopportunities to perform".
In 1940s,costarring withGolden Drill,Silver Dazimainly performed at ZhonghuaTea House (now Zhonghua Quyuan). He assisted HanJunqing who became a famous actress later. Han wassold to Han Shengheng living at Hebei Xiong Countywhen she was young and could perform at 10. Notvery long,he became a versatile actress performing theroles of qingyi,huadan,wusheng,daoma,and caidan.In the Spring of 1928,when she came to Tianjing forperformance,Silver Dazi took her a costar which helpedher have a wonderful career in traditional Hebei Bangzi.