Chinese Opera 101 Stage and Performing Techniques

Understand Chinese Opera At a glance, Chinese opera may seem to be complicated. But, there are certain distinguishing aspects in Chinese opera that can help you understand and appreciate the performance without the need of actually knowing the language.

Let’s first look at the stage design Chinese Opera stage is traditionally decorated with a simple backdrop. Chinese Opera typically does not use the more realistic effects of Western design and hardly operate any large props on stage.

Examples: Here are photos of more elaborate backdrops

Stage Design: Setting a table with a pair of chairs in the middle, the stage can become a sitting room, the emperor’s court, or with a chair on top, a mountain to climb. This is what the table and chairs look like in a Chinese opera setting.

Lacking scenery and almost any large props, Chinese opera turns instead to the art of mime, often with hand-held props to aid the illusion. For example: A tasseled whip can become a rider’s horse. Several actors swaying together while one handles a paddle can portray a boat ride. A lantern or candle in hand tells of night and darkness. A dance with blue flags means a flood, or with red ones, a fire.

Examples: A fisherman holding a stick simulating paddling a boat. Although it may not seem obvious, but by having a whip in his hand, this photo is showing a male dignitary riding a horse. A fairy weaving magic with her long sleeves.

Use of Props: Lovers saying farewell in the rain. Checking the surrounding in the dark with a lantern. Two warriors fighting in a battle field.

The Actors and their Acting Techniques By doing away with three-dimensional stage props and complicated backdrops found in Western opera, Chinese opera conveys the idea of time and space to the audience through the acting of performers. This simple and flexible technique is called "imagined time and space" in Chinese operatic terminology. This technique is often seen by actresses walking in a spiral circle on the stage, which can mean a long journey, or transition of time and space.

The acting is not mere imitation of movements in daily life The acting is not mere imitation of movements in daily life. Instead, it has been perfected to bring out just their essentials, making them highly-stylize and rhythmic dancing movements. Such acting is described in Chinese stage language as "stylized formula". For example, Qiba (setting off for battle), one of the many “formulas”, got its name when it was first used in the Ming Dynasty (1368-1644) opera “One Thousand Pieces of Gold”. It is usually used in performances such as fully armed soldiers setting off for battle in the old days. It concentrates fundamental actions and dancing skills in order to demonstrate the prowess of generals and soldiers.

Make-up and Colorful Costumes The vividly painted faces of the characters in Chinese opera may require a greater participation from the audience's imagination. Clowns, for example, are represented by a white nose area painted in the face. Each character in a Chinese opera is based on a standard role type, which is recognized at a glance by costume, makeup, and demeanor. This lets the audience know much about a character from the moment the actor comes onstage.

General speaking, there are four roles in Chinese opera: Sheng -- the male role Dan -- the female role Jing -- the painted-face roles Chou -- the clown role

Sheng -- the male role According to the age and social status of the characters, male role types roughly fall into three sub-groups: the young man, the older man, and military man (the male characters who appear in the battle scenes).

Examples: Young Man (don’t wear artificial bears):

Examples: Older Man (also known as bearded men, because the actors wear artificial beards, and they are middle-aged or elderly men)

Examples: Military Man (the male characters who appear in the battle scenes)

Dan -- the female role Female role types are the vivacious lady, the refined woman, the older woman, and the military woman Reminder: Sheng -- the male role Dan -- the female role Jing -- the painted-face roles Chou -- the clown role

Examples: Vivacious Lady (a young female character with a frank and open personality)

Examples: Refined Woman (young or middle-aged women with gentle and refined dispositions, they usually wear a robe with extended white flowing sleeves)

Examples: Older Woman

Examples: Military Woman (female characters skilled in the martial arts)

Jing – the painted-face roles Generally refer to male characters whose strong and simple personalities are represented by mask-like face painting. This group can include heroes, villains, generals, gods, and demons.

Chou -- the clown role Chou, with the eyes and nose surrounded by a white patch, is another special group, both male and female, who provide humor through foolishness or wit.

Wenchou (civilian) Examples: According to the social positions, characters and skills demanded, the Chou roles are divided into two categories: Wuchou (martial)

Pointers: It takes a life-time of dedication to learn the art of Chinese Opera. Usually a person only specializes in one role type including singing and acting. When a person performs in a role that is not typical of his or hers, we said the person is “Fan-Chuan.” During the performance, it’s the orchestra follows the performers which gives performers more flexibility and rooms for personal styles. The drummer serves as the head of the orchestra.

Classical Opera Performances available on http://www Picking up the Jade Bracelet The Huarong Path – An excerpt from The Romance of the Three Kingdom San Cha Kou (At the Crossroad Inn)