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1、Peking Opera,Is Peking Opera anything like western opera?,They have very little in common. Peking Opera is much more than mere opera. Peking Opera combines many art forms. Apart from singing and recitation, it includes traditional Chinese music, poetry, dancing, pantomime, elaborate costumes and mak
2、e-up, acrobatics and martial arts.,The demands from various art forms call for versatility on the part of the performers.,An all-round top-notch Peking Opera performer, must be good-looking or attractive when appearing in make-up, of pleasing physical proportions, with a pair of expressive eyes and
3、a rich variety of facial expressions.,Whether of the warrior type or not, an actor must undergo years of fundamental training in martial skills so that every movement on the stage is gracefully and precisely executed and every pose assumed at the end of a movement makes the performer resemble a piec
4、e of well-executed sculpture, thereby increasing the aesthetic value of the acting.,The foundation of Peking opera,Peking Opera, also known as Ping Opera or Capital Opera, is Chinas most popular kind of traditional opera, circulating in Beijing (as the center) and the rest of the country.,Back in Ye
5、ar 55 during the reign of Qianlong of Qing Dynasty, the four Anhui troupes of Sanqing（三庆）, Sixi（四喜）, Chuntai （春台）and Hechun （春四）that were originally performing down in the south moved to Beijing gradually. They had cooperated with the Han tune artists from Hubei and accommodated part of the programs
6、 of Kun Opera and Qin Tune as well as their styles while assimilating the elements of local folk tunes before it finally became todays Peking Opera through constant communication and integration.,In terms of literature, performance, music and stage arts, Peking Opera has a set of standardized proced
7、ures of performance.,The performance in literature,With historical stories as the main content for performance, Peking Opera has about 1,300 programs, with those often on play being three to four hundred. Those that are most popular among households include:,群英会 打渔杀家 空城计 贵妃醉酒 三岔口 霸王别姬 四郎探母 玉堂春 长坂坡,将
8、相和 穆桂英挂帅 杨门女将 海瑞罢官 曹操与杨修 沙家浜 红灯记 智取威虎山 骆驼祥子,穆桂英挂帅,剧本描写北宋时，西夏犯境。辞朝隐居的佘太君闻讯，遣曾孙杨文广、曾孙女杨金花去汴京探听。杨文广在校场比武,刀劈兵部尚书王强之子王伦,夺得帅印归来。穆桂英深感朝廷刻薄寡恩，不愿再为它效力。佘太君劝她以抵御西夏侵扰为重，穆桂英乃挂帅出征。集中塑造了穆桂英的英雄形象。,打渔杀家,原剧讲梁山英雄阮小七（易名萧恩）获得一颗宝珠，顶在头上入水，可以避水开路。后来成为萧恩的女儿萧桂英订亲的信物。萧恩与众兄弟分手后，带女儿在江边打鱼为生。遇故人李俊携友倪荣来访，同饮舟中。因天旱水浅，打不上鱼，欠下了乡宦丁士燮的渔
9、税，丁自燮催讨渔税，李、倪斥之，得罪了丁府。丁府派教师爷率家丁锁拿萧恩，萧恩忍无可忍，将众人打得落花流水。萧恩愤恨之下大发英雄神威，带着女儿黑夜过江，以献宝珠为名，夜入丁府，杀了渔霸全家。,图：梅兰芳饰萧桂英、周信芳饰萧恩,群英会,剧情： 取材于三国演义，曹操率军南下攻吴，周瑜故友蒋干过江访瑜，诱蒋盗去假造之曹营水军都督蔡瑁、张允之反书。蒋干自以为聪明，曹操果中计，怒斩蔡、张二人。,空城计,三国时期，魏国派司马懿挂帅进攻蜀国街亭，诸葛亮派马谡驻守失败。司马懿率兵乘胜直逼西城，诸葛亮无兵迎敌，但沉着镇定，大开城门，自己在城楼上弹琴唱曲。司马懿怀疑设有埋伏，引兵退去。等得知西城是空城回去再战，赵云
10、赶回解围，最终大胜司马懿。,沙家浜,抗战时期，江南新四军浴血抗日，某部指导员郭建光带领十八名新四军伤病员在沙家浜养伤，“忠义救国军”胡传魁、刁德一假意抗战暗投日寇，地下共产党员阿庆嫂依靠以沙奶奶为代表的进步抗日群众，巧妙掩护了新四军安全伤愈归队，最终消灭了盘踞在沙家浜的敌顽武装，解放了江南大好河山。,The performance in music,Its tune is actually a variation of clapper style 板式变化体 戏曲音乐的一种结构形式。它以一对上、下乐句为基础，在变奏中突出节拍、节奏变化的作用，以各种不同的板式（如三眼板、一眼板、流水板、散板等）
11、的联结和变化，作为构成整场戏或整出戏音乐陈述的基本手段，以表现各种不同的戏剧情绪。,The accompaniment of Peking Opera comes in Quiet Setting and Dynamic Setting: for the Quiet Setting, the Huqin fiddle 胡琴 (Jinghu fiddle京胡), Peking Erhu京二胡, Yue zither月琴, Xianzi弦子, flute笛子and trumpet唢呐, with Huqin fiddle as the main instrument;,for the Dynami
12、c Setting, drum clappers are mainly used besides Little gong and Big Gong as complement.,The roles of Peking Opera,The roles of Peking Opera fall into: Sheng (male) 生 Dan (female) 旦 Jing (painted face)净 Chou (clown) 丑,There are further classifications among each role: e.g. in the role of Dan (female
13、): Qingyi (Black Gown)青衣 Huadan (Young Lady)花旦 Daomadan (swordplay and horse ride) 刀马旦 Wudan (swordplay)武旦 Laodan (old female)老旦,The role of sheng,The role of dan,The role of jing 主要扮演性格、品质或相貌不同于一般、有突出特征的男性人物，俗称花脸,张飞,关羽,包拯,The role of chou,The schools and famous performers of Peking Opera,Peking Ope
14、ra is divided into The Beijing School and The Shanghai School with many noted performers at various stages such as : 清末的程长庚、余三胜、张二奎、梅巧玲、谭鑫培、孙菊仙、汪桂芬、刘鸿声、田桂凤、余紫云、陈德霖、王瑶卿等. 民国年间的余叔岩、言菊朋、高庆奎、马连良、杨宝森、梅兰芳、程砚秋、荀慧生、尚小云、周信芳、金少山等.,The four great masters of Peking Opera,王瑶卿给四大名旦每人一个字的评价，直接反映各人特色。 梅兰芳“样”(扮相秀美，“
15、讨老婆要像梅兰芳，生儿子要 像周信芳”) 程砚秋“唱”(注重四声，追求“声、情、美、水”的高度 结合 ) 荀慧生“浪”(功底深厚，嗓音宽亮，唱腔刚劲 ) 尚小云“棒”(唱腔中融入了河北梆子的唱腔、唱法、表 演的精华 ),Master Mei Lanfang,梅兰芳（1894年-1961年），1894年生于北京，他出生于京剧世家。10岁登台在北京广和楼演出天仙配，工花旦。1908年搭喜连成班。1911年北京各界举行京剧赏评选活动，张贴菊榜，梅兰芳名列第三名探花。 代表作品：五花洞贵妃醉酒嫦娥奔月霸王别姬黛玉葬花等,Beijing Opera Classic : The Drunken Beaut
16、y (A Representative Play of the Mei School),The Drunken Beauty tells a story as follows: Yang Guifei, concubine of the Emperor Li Longji of the Tang Dynasty, made an appointment with the emperor one day to attend a banquet at the Hundred-Flower Pavilion, but he didnt show up because he had gone to a
17、nothers concubines place the West Palace. Humiliated and irritated, Yang Guifei felt choked by sadness. She drank heavily, ordering Gao Lishi and Pei Lishi to replenish the cup time and time again until she got drunk. Disappointed, she finally returned to her palace. Touched up by Mei Lanfang, the p
18、lay became one of the classics of the Mei School.,贵妃醉酒剧照,霸王别姬剧照,五花洞,剧情：宋代，五大郎与潘金莲夫妻俩因年月不好，离家去寻兄弟武松。蜈蚣、蝎子、壁虎、蛤蟆、毒蛇等在五花洞修炼成精，因恨仙道张天师与它们作对，前往京都作乱。路遇武大郎携妻潘金莲寻访其弟武松，见二人一矮丑、一娇媚，相映成趣，遂幻化成二人模样相戏。真假武大郎、潘金莲相貌言语一般无二，难辨真伪，乃互相扭至阳谷县衙申告。知县吴大炮难以判识，五毒精又变出一假知县与之哄闹。恰逢包拯（另有版本为张天师）巡视至此，以照妖镜辨出真伪，又请来天兵天将降服了众妖。,The facial
19、patterns of Peking Opera,由于每个历史人物或某一种类型的人物都有一种大概的谱式，就像唱歌、奏乐都要按照乐谱一样，所以称为“脸谱”，约定俗成，渐成定例 。 脸谱对于不同的行当，情况不一。“生”、“旦”面部化妆简单，略施脂粉，叫“俊扮”、“素面”、“洁面”。而“净行”与“丑行”面部绘画比较复杂，特别是“净”，都是重施油彩的，图案复杂，因此称“花脸”。戏曲中的脸谱，主要指“净”的面部绘画。而“丑”，因起扮演戏剧角色，故在鼻梁上抹一小块白粉，俗称“小花脸”。,The color of facial make-up,京剧脸谱色彩十分讲究，看来五颜六色的脸谱品来却巨细有因，决非仅仅
20、为了好看。不同含义的色彩绘制在不同图案轮廓里，人物就被性格化了。 红色-表现忠贞，英勇的人物性格，如：关羽. 蓝色-表现刚强，骁勇，有心计的人物性格，如：窦尔敦. 黑色-表现正直，无私，刚直不阿的人物形象，如：包公.,白色-代表阴险，疑诈，飞扬，肃煞的人物形象.如：曹操，司马懿 . 绿色-代表顽强，暴躁的人物形象.如：武天虬. 黄色-代表枭勇，凶猛的人物，如：宇文成都. 紫色-表现刚正，稳练，沉着的人物，如荆柯. 金，银色-表现各种神怪形象，如孙悟空等,The Patterns of Facial Make-up,脸谱图案非常丰富，大体上分为额头图，眉型图，眼眶图，鼻窝图，嘴叉图，嘴下图。每个
21、部位的图案变化多端，有规律而无定论，如： 包拯黑额头有一白月牙，表示清正廉洁。 孟良额头有一红葫芦，示意此人爱好喝酒。 杨戬画有三眼，来源于古典传说。,杨七郎额头有一繁体“虎”字，显示其勇猛无敌。 赵匡胤的龙眉表示为真龙天子。 雷公脸谱中有一雷电纹。 姜维额头画有阴阳图，表示神机妙算。 夏侯惇眼眶受过箭伤，故画上红点表示。 窦尔墩，典韦等人的脸谱上有其最擅长的兵器图案。,The symbolism,Symbolism is very important in Peking Opera, without being subject to the limitations of time and s
22、pace. Since there are very few stage props the actors use particular body movements to suggest a situation. That is symbolism.,There are many established movements to signify opening or closing a door, entering or leaving a room, going up or down stairs, climbing a mountain or wading across a stream
23、. It is through these stylized movements that the audience is led to an understanding of what is going on stage. Many regular theatre goers know the story only too well. They simply go for the symbolic acting.,Examples of symbolism,Circling the stage, whip in hand, suggests riding a horse. Riding in
24、 a carriage is represented by an attendant holding flags painted with a wheel design on either side of the performers.,Walking in a circle indicates a long journey. Four soldiers and four generals flanking both sides of the stage represents an army several thousand strong.,Two men somersaulting under a spotlight shows the audience how they are groping and fighting in the dark. On a stage bare of scenery, a performer holding an oar or paddle and doing kneebends to simulate a heavy swell, demonstrates travelling on a boat.,