Chinese Peking Opera
Synopsis
Peking Opera is a quintessential Chinese art form with a history of over 200 years. It was inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity in 2010. The four main role types—Sheng, Dan, Jing, and Chou—each have distinct characteristics, and facial makeup uses colors to signify personalities: red for loyalty, black for straightforwardness, and white for treachery. Singing, recitation, acting, and acrobatics form the four fundamental skills, while Mei Lanfang founded the Mei School, introducing Peking Opera to the world. With a few steps, one can traverse the world; with a handful of performers, one can depict a mighty army—it is the pinnacle of Chinese theatrical art.
Overview
Peking Opera is the most representative form of traditional Chinese theater, hailed as the quintessence of Chinese culture. With a history of over 200 years, it originated in Beijing during the Qianlong era of the Qing Dynasty, evolving from a fusion of various regional operas such as Hui, Han, Kunqu, and Qinqiang. In 2010, Peking Opera was inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity. It has developed a rigorous and intricate codified system encompassing literature, performance, music, vocal styles, makeup, and facial patterns, representing the pinnacle of Chinese theatrical art.
The charm of Peking Opera lies in its high degree of stylization and symbolism. There are no realistic sets on the Peking Opera stage; a table and two chairs can represent a battlefield with thousands of troops or a magnificent palace. "Traveling thousands of miles in a few steps, a million soldiers with just a few actors" – by walking a few circles on stage, actors signify a long, arduous journey; a few extras can represent a vast, mighty army. This stage aesthetic of substituting the abstract for the concrete and mastering complexity through simplicity is the most distinctive artistic feature of Chinese theater.
The Four Major Role Types
| Role Type | Description | Representative Characters |
|---|---|---|
| Sheng | Male lead roles, divided into Laosheng (older male), Xiaosheng (young male), and Wusheng (martial male) | Zhuge Liang, Zhou Yu, Zhao Yun |
| Dan | Female roles, divided into Qingyi (virtuous women), Huadan (vivacious women), Daomadan (martial women), and Laodan (older women) | Wang Baochuan, Mu Guiying, Yang Guifei |
| Jing | Commonly known as "painted face" roles, portraying bold, unconstrained, or rough male characters | Bao Zheng, Zhang Fei, Cao Cao |
| Chou | Comic roles, characterized by a white patch painted on the nose | Jiang Gan, Shi Qian |
Each role type has strict performance conventions. Sheng roles focus primarily on singing, requiring a powerful voice and clear articulation. Dan roles excel in grace and beauty; Mei Lanfang elevated Dan performance to the peak of artistic achievement. Jing roles are marked by their painted face makeup, featuring a resonant, impassioned voice and bold, expansive movements. Although the name "Chou" (meaning "ugly") sounds unflattering, these roles are indispensable in Peking Opera – Chou actors often provide comic relief and enliven the atmosphere, while also demonstrating many exquisite performance skills.
The Art of Facial Makeup
| Color | Represents | Representative Characters |
|---|---|---|
| Red | Loyalty, righteousness, bravery | Guan Yu |
| Black | Integrity, uprightness | Bao Zheng, Zhang Fei |
| White | Cunning, treachery | Cao Cao |
| Blue | Strength, valor, fierceness | Dou Erdun |
| Green | Chivalry, roughness | Cheng Yaojin |
| Yellow | Ferocity, cruelty | Dian Wei |
| Gold | Deities, spirits, demons | Sun Wukong |
Facial makeup is the most recognizable visual element of Peking Opera. Jing and Chou actors paint intricate patterns on their faces using greasepaint, with different colors and patterns representing distinct character traits. The application of facial makeup is extremely meticulous and precise – the thickness of each stroke and the shape of each color area follow fixed conventions. An experienced makeup artist requires about 40 minutes to complete a full facial makeup. Under stage lighting, the layered greasepaint reveals a rich spectrum of color variations.
The Four Skills and Five Methods
| Skill | Description |
|---|---|
| Singing (Chang) | Vocal performance, the core of Peking Opera, emphasizing precise pronunciation and tonal purity |
| Speech (Nian) | Recitation, similar to declamation, divided into Jingbai (colloquial Beijing dialect) and Yunbai (rhymed, stylized speech) |
| Acting (Zuo) | Physical performance, the coordination of hand, eye, body, and step techniques |
| Combat (Da) | Martial arts skills, including tumbling, leaping, and fighting techniques |
Singing, Speech, Acting, and Combat are known as the Four Skills of Peking Opera. Among these, singing is the most important – Peking Opera's vocal styles are based on two major systems, Xipi and Erhuang. Different rhythmic patterns (such as Manban, Yuanban, Liushui) express different emotions. Peking Opera singing demands exceptional vocal control from the performer; a single sustained note (拖腔) can last over ten seconds or even longer, during which pitch and volume must be precisely controlled.
Acting and combat skills are equally spectacular. Peking Opera's fight scenes use no special effects or wires, relying entirely on the genuine skills of the performers. Somersaults, spear flourishes, spinning leaps – these highly difficult movements require actors to train for many years from a young age to master. A saying in the Peking Opera world goes, "One minute on stage takes ten years of practice off stage," referring precisely to this rigorous training requirement.
Mei Lanfang and Peking Opera's Journey to the World
Mei Lanfang (1894-1961) is the greatest performing artist in the history of Peking Opera. The Mei School of art he founded elevated the performance of Dan roles to unprecedented heights. Not only did Mei Lanfang pursue artistic perfection, but he also introduced Peking Opera to the world – he performed in Japan, the United States, and the Soviet Union, causing a sensation. Mei Lanfang's performances gave the Western world its first glimpse of the unique charm of Chinese theater, inspiring many Western dramatists.
References
- UNESCO Intangible Cultural Heritage List: https://ich.unesco.org/en/RL/peking-opera-00418
- Baidu Baike: https://baike.baidu.com/item/京剧
- Wikipedia: https://zh.wikipedia.org/zh-cn/京剧
- China Intangible Cultural Heritage Network: https://www.ihchina.cn
Comments (0)