In the early period of Peking Opera, the main roles on stage were Dan (female roles). It was after the emergence of three successful actors that Laosheng (male roles) rose as the main role on the opera stage.

The roles on the Chinese opera stage fall into four categories -- Sheng, Dan, Jing and Chou. These roles have the natural features of age and sex, as well as social status. Dan is the general term in Peking Opera for female roles.

Sheng, a male role, usually a leading one, dates back to Southern Drama of the Song and Yuan dynasties (960-1368). According to the age and social status of the characters, Sheng falls into three sub-groups -- Laosheng, Xiaosheng and Wusheng. Laosheng refers to middle-aged or elderly men.

The three outstanding Laosheng actors in the early period of Peking Opera are Cheng Changgeng (1811-1880), Yu Sansheng (1802-1866) and Zhang Erqiang (1814-1864).

Cheng Changgeng, the leader of Hui Opera and founding father of Peking Opera, learned drama since childhood. His greatest contribution was that he integrated Anhui and Han opera tunes, as well as Kunqu, which laid the foundation for the Laosheng role in Peking Opera.

Yu Sansheng's performance is based on Han opera tunes, with which he amalgamated Anhui tunes, Kunqu and Bangzi, and greatly enriched Peking Opera.

Zhang Erkui at first was just a Piaoyou (or Fan ). He became a professional actor at the age of 24, and later formed his own style -- the Kui School.

It was after the three that Laosheng (male roles) rose as the main role on Peking Opera stage.