A Journey to the World of Chinese Opera #3 Kuo, Spring, 2012

The Birth of Beijing (Peking) Opera Beijing opera was born when the “Four Great Anhui Troupes” came to Beijing in 1790.It was originally staged for the court and came into the public later. Although it is called Beijing opera (Beijing theatre style), its origins are in the southern Anhui and eastern Hubei, which share the same dialect of Xiajiang Mandarin (Lower Yangtze Mandarin).

The Birth of Beijing (Peking) Opera Beginning in 1884, the Empress Dowager Cixi (慈禧太后)became a regular patron of Beijing opera, cementing its status over earlier forms like Kunqu. The popularity of Beijing opera has been attributed to the simplicity of the form, with only a few voices and singing patterns. This allowed anyone to sing the arias themselves.

The Development of Beijing Opera Beijing opera features acting, singing, and sumptuous costumes. But it also offers dance, mime, face painting, and acrobatics. The melodies that accompany each play were drawn from Kunqu and other local operas. However, the accompany instruments for singing changed from flute to Jinghu (京胡) and other string instruments. There are over 1200 stories used in Beijing opera, mostly drawn from historical legend and mythology.

Categories of characters in Peking Opera There are four basic categories of characters or roles in Peking Opera, they are respectively known as “Sheng”,生 “Dan”,旦 “Jing” 淨 or Painted Face “Chou”丑 Becoming a Peking opera performer requires a long and arduous apprenticeship beginning from an early age .

The Sheng (生)— the male role in Beijing opera. This role type has numerous subtypes: 1) The laosheng is a dignified older role. These characters have a gentle and cultivated disposition and wear sensible costumes, they may be high-ranked officers or generals. Laosheng is the leading role in many well-known plays, such as “The Battle of Dingjunshan (定軍山),” in which, the first actor in the Chinese film, Tan Xinpei (1847-1917), was an actor of laosheng. He was the fonuder of the Tan school which became the dominant style in latter 19th century. Other laosheng actors, who made innovative changes in singing and acting style, has developed other schools of laosheng, such as, Yu school, Yang school, Ma school, and Qi school, etc.

The Sheng (生)— the main male role in Beijing opera. 2) Young male characters are known as Xiaosheng(小生). These characters sing in a high, shrill voice with occasional breaks to represent the voice changing period of adolescence. Depending on the character's nature, it is further divided into (1) a civil gentleman, and (2) a brave general. (1) A civil gentle man often carries a fan or is an officer in robes. This role type often appear in plays involving romantic courtships for pretty female roles. (2) A general often wear armor with flags, and a general cap with two long pheasant tales. They usually portray brave and smart commander-in-chiefs.

The Sheng (生)— the main male role in Peking opera. 3)The Wusheng(武生) is a martial character for roles involving combat. They are highly trained in acrobatics, and have a natural voice when singing. A good Wusheng has to have skills to do combat movements and acrobatics. In addition, he will be successul if he has a good and strong singing vice. Such role types often portray warriors, generals, or monkey kings. Show videos

The Dan (旦)— female role in Peking opera Dan roles were originally divided into five subtypes. 1) Old women were played by laodan(老旦) 2) Martial women were wudan (武旦), 3) Young female warriors were daomadan (刀馬旦), 4) Virtuous and elite women were qingyi(青衣), 5) Vivacious and unmarried women were huadan (花旦). 6) Huashan(花衫). This role type combines the status of the qingyi with the sensuality of the huadan. This 6th role sub-types was Mei Lanfang’s contribution who pioneering this role subtype.

The Dan (旦)— female role in Peking opera qingyi(青衣),or “Blue Robe”, originally black robe in classical Chinese, is of symbolic reference, portraying women of traditional virtue, on stage they shine by singing. “Huadan” is a young female character with more vivacious personality and witty articulation. On stage, “Huadan” excels in her recitation in plain language and agile movements. “Huashan” role requires exuberation both in singing and tactful body language, which is a combination of dignified “Qingyi” and articulate “Huadan”. Show Video “尤三姐” (The 3rd sister of Yu’s family)

The Dan (旦)— female role in Peking opera 4) Martial women were wudan (武旦), who is very good at martial art and acrobatics. It usually portrays a female warrior or a monster disguised as a pretty woman. 5) Young female warriors were daomadan (刀馬旦). It is a combanination of huadan and a wudan. She needs to be good at verbal articulation and acrobatics. 6) Old women were played by laodan(老旦). They speak and sing in natural voice instead of falsetto, therefore, men are often very good at playing this sub-role type. Show Video “尤三姐” (The 3rd sister of Yu’s family)

Jing 淨-Painted Face The Jing (净) is a painted face male role. Depending on the plot of the play, he will play either primary or secondary roles. This type of role usually entails a forceful character, therefore, a Jing character must have a strong voice and be able to exaggerate gestures.

Jing 淨-Painted Face Peking opera boasts 15 basic facial patterns, but there are over 1000 specific variations. Each design is unique to a specific character. The patterns and coloring are thought to be derived from traditional Chinese color symbolism and divination on the lines of a person's face, which is said to reveal personality.

Jing 淨-Painted Face Easily recognizable examples of coloring include red, which denotes uprightness and loyalty, white, which represents evil or crafty characters, and black, which is given to characters of soundness and integrity. Three main types of Jing roles are often seen. These include: (1) tongchui (銅錘), roles that heavily involve singing, (2) jiazi(架子), roles with less emphasis on singing and more on physical performance, and (3) wujing(武淨), emphasizing on martial and acrobatic movements.

Examples of painted face roles

Chou 丑--Clown The Chou (丑) is a clown role or comidian. The Chou usually plays secondary roles in a troupe. Indeed, most studies of Peking opera classify the Chou as a minor role. The name of the role is a homophone of the Mandarin Chinese word chou (醜), meaning "ugly". This reflects the traditional belief that the clown's combination of ugliness and laughter could drive away evil spirits. Chou characters are generally amusing and likable, if a bit foolish. Their costumes range from simple for characters of lower status to elaborate, perhaps overly so, for high status characters.

Chou 丑--Clown Chou roles can be further divided into the following 3 sub-types: (1)Wen Chou(文丑), civilian roles such as, jailers, baggards, and sometimes corruptive officers. (2) Wu Chou, minor military roles, such as, soldiers, bandits. This role type is one of the most demanding in Peking opera, because of its combination of comic acting, acrobatics, and a strong voice.

Chou 丑--Clown (3) Tsaidan (彩旦), a comic female role, such as maid, a match-maker. Chou characters wear special face paint of a small white patche around the nose, which represent either a mean and secretive nature or a quick wit. This face painting pattern differs from that of Jing characters.

Simulating Reality with Aesthetic Movements Peking opera follows other traditional Chinese arts in emphasizing meaning, rather than accuracy. The highest aim of performers is to put beauty into every motion. Performers are strictly criticized for lacking beauty during training. Performances deal with behaviors that occur in daily life,however, in accordance with the overriding principle of beauty, such behaviors are stylized to be presented on stage. Programmed performing.(程式化的表演)