Ancient Huizhou opera activities earlier, has shown a momentum of the mid-Ming. Xi, and the Hyobu Kun Wang is a distinguished playwright. Renwu body level, although he is also writing and poetry, especially adept at drama, with a "dream GAOTANG", "Five Lakes Tour", "Waterinfo sad" and historical drama, staged in the vicinity of the prevalence of Huizhou. Access to the Qing Dynasty, Huizhou opera activities are in full swing, with its main huizhou the "Office in order to study, unless a business", "out of business and" All commercial capital and a giant in the idea of family, and in Huishang economic development, and promoted the development of opera culture, entertaining way.
Show the formation of the emblem is the emblem combining cavity with cavity Cheongyang on the basis of the same Luan, blowing cavity exchange integration, and is subject to certain impact, only the emblem and the emblem of classes to help. At that time, or well-known Youqing, Cai Qing, Tongqing, Yangchun four social classes. 55 years of Qing Emperor Qianlong (1790 AD) have been to Beijing four emblem ban performances Jingshi sensation. Later in the Jiaqing, from Hubei Province with the Chinese artists emphasize cooperation, mutual influence, accepted the opera, part of Shaanxi Opera repertoire, melody and performance methods, absorbing a number of civil melody, gradually, a very complete style and performance art system evolved into opera.
古徽州的戏曲活动比较早，明代中期已呈势头。歙人，嘉靖年间官至兵部侍郎的汪道昆，就是一位杰出的剧作家。他虽身任武职，也作文，也写诗，尤擅长杂剧，著有《高唐梦》、《五湖游》、《洛水悲》等历史剧，在徽州一带上演盛行。进入清代，徽州的戏曲活动更是方兴未艾，其主要是与徽州的“处者以学，行者以商”，“商而兼出”，合商业资本和豪绅巨族于一身的思想有关，在发展徽商经济的同时，促进了戏曲文化的大发展，寓教于乐之中。
徽剧的形成，是在徽腔与青阳腔结合的基础上，同乱弹、吹腔交流融合，并受昆腔的一定影响，才有了徽班与徽帮。当时著名的有庆升、彩庆、同庆、阳春等四个班社。清乾隆５５年（公元１７９０年）四大徽班相继进京演出，轰动京师。后又于嘉庆、道光年间，同来自湖北的汉调艺人合作，相互影响，接受了昆曲、秦腔的部分剧目、曲调和表演方法，吸收了一些民间曲调，逐渐形成相当完整的艺术风格和表演体系，演变为京剧。