Chinese Opera

Chinese opera together with Greece tragic-comedy and Indian Sanskrit Opera are the three oldest dramatic art forms in the world. During the Tang Dynasty (618 – 907), the Emperor Taizong established an opera school with the poetic name Liyuan (Pear Garden). From that time on, performers of Chinese opera were referred to as 'disciples of the pear garden'. Since the Yuan Dynasty (1271 - 1368) Chinese opera has been encouraged by court officials and emperors and has become a traditional art form. During the Qing Dynasty (1644 - 1911), Chinese opera became fashionable among ordinary people. Performances were watched in tearooms, restaurants, and even around makeshift stages.

Chinese opera evolved from folk songs, dances, talking, antimasque, and especially distinctive dialectical music. Gradually it combined music, art and literature into one performance on the stage. Accompanied by traditional musical instruments like the Erhu, the gong, and the lute, actors present unique melodies - which may sound strange to foreigners - as well as dialogues which are beautifully written and of high literary value. These dialogs also promoted the development of distinct literary styles, such as Zaju in the Yuan Dynasty. For Chinese, especially older folks, to listen to this kind of opera is a real pleasure.

What appeals to foreigners most might be the different styles of facial make-up, which is one of the highlights of Chinese opera and requires distinctive techniques of painting. Exaggerated designs are painted on each performer's face to symbolize a character's personality, role, and fate. This technique may have originated from ancient religions and dance. Audiences who are familiar with opera can know the story by observing the facial painting as well as the costumes. Generally, a red face represents loyalty and bravery; a black face, valor; yellow and white faces, duplicity; and golden and silver faces, mystery.

Besides color, lines also function as symbols. For example, a figure can be painted either all white on his face, or just around the nose. The larger the white area painted, the more viperous the role.

Another technique that fascinates people is the marvelous acrobatics. Players can make fire spray out of their mouths when they act as spirits, or can gallop while squatting to act as a dwarf. This reflects a saying among actors: 'One minute's performance on the stage takes ten years' practice behind the scenes.

Over the past 800 years, Chinese opera has evolved into many different regional varieties based on local traits and accents. Today, there are over 300 dazzling regional opera styles. Kun opera, which originated around Jiangsu Province, is a typical ancient opera style and features gentleness and clearness. This enabled it to be ranked among the World Oral and Intangible Heritages. Qinqiang opera from Shaanxi, known for its loudness and wildness, and Yu opera, Yue opera, and Huangmei Opera are all very enjoyable. Beijing Opera , the best-known Chinese opera style, was formed from the mingling of these regional styles.

Sichuan Opera---川剧

Magical Face Changes in Sichuan Opera---川剧变脸

Sichuan Opera (Chuan Ju) originated at the end of the Ming (1368-1644) and the beginning of the Qing Dynasty (1644-1911). With immigrants flooding into Sichuan, different dramas were brought in to blend with the local dialect, customs, folk music and dances. Gradually, brisk humorous Sichuan Opera, reflecting Sichuan culture, came into being.

Face changing is the highlight of Sichuan Opera.

It is said that ancient people painted their faces to drive away wild animals. Sichuan Opera absorbs this ancient skill and perfects it into an art. There are three types of face changes.

In the Wiping Mask routine the actor applies cosmetic paint in a certain position on his face. If the whole face is to be changed, the cosmetic paint is applied to the forehead or eyebrows; for changes on the lower half of the face, paint is applied to his cheeks or nose; or to other specific parts.

The Blowing Mask routine works with powder cosmetics, such as gold, silver, and ink powders. Sometimes a tiny box is placed on the stage; the actor draws near and blows at the box. The powder will puff up and stick to the face. Sometimes the powder is put in a cup. The secret to success in this act is to close the eyes and mouth and to hold the breath.

The Pulling Mask routine is the most complicated. Masks are painted on pieces of damask, well cut, hung with a silk thread, and the lightly pasted to the face one by one. The silk thread is fastened in an inconspicuous part of the costume. With a flick of his cloak the performer magically whisks away the masks one by one as the drama develops.

One Sichuan Opera master also used qi gong movements as he changed face color from red to white, then from white to black. Face changing is a magical art. Actors change more than 10 masks in less than 20 seconds! By raising the hand, swinging a sleeve or tossing the head, an actor uses different masks to show different emotions, expressing invisible and intangible feelings through visible and tangible masks. From green to blue, red, yellow, brown, black, dark and gold, these masks show fear, tension, relaxation, slyness, desperation, outrage, and so on.

Sichuan Opera master Peng Denghuai changed 14 masks in 25 seconds, and reverted to four masks after revealing his true face. This was his latest Guinness World record, breaking his previous one. Hong Kong super star Andy Lau was said to respect Mr. Peng as teacher and mentor in this stunt.

Today hi-tech is used to enhance this traditional art. Lasers and twinkling lights add a touch of mystery. And modern faces like Zorro are invited to the stage.

Sichuan Opera, like hot-pot and other Sichuan cuisine winners, is exciting, rich and good-natured。

Beijing Opera---京剧

Beijing opera, more commonly known as Peking opera to westerners, is deemed the national opera of China. The accompanying music, singing and costumes are all fascinating and artistic. Full of Chinese cultural facts, the opera presents to the audience an encyclopedia of Chinese culture as well as unfolding stories, beautiful paintings, exquisite costumes, graceful gestures and acrobatic fighting. Since it enjoys a higher reputation than other local operas, almost every province of China has more than one Beijing Opera troupe, who is called "piaoyou" in Chinese. This kind of opera is so popular among Chinese people, especially seniors, that even a "Beijing Opera Month" has been declared.

Beijing opera has an over 200-year history. The main melodies originated from Xipi and Erhuang, in Anhui and Hubei respectively and over time techniques from many other local operas were incorporated.

It is generally accepted that Beijing opera gradually came into being after 1790 when the famous four Anhui opera troupes came to Beijing. Beijing opera underwent fast development during the reign of Emperor Qianlong and the notorious Empress Dowager Cixi under the imperial patron, and eventually became more accessible to the common people.

In the ancient times, Beijing Opera was performed mostly on open-air stages in markets, streets, teahouses or temple courtyards. The orchestra had to play loudly and the performers had to develop a piercing style of singing, in order to be heard over the crowds. The costumes were a garish collection of sharply contrasting colors because the stages were dim and lit only by oil lamps. It is a harmonious combination of Grand Opera, Ballet and acrobatic display, consisting of dancing, dialogue, monologue, acrobatic combat and mime.

The Beijing opera band mainly consists of orchestra band and percussion band. The former frequently accompanies peaceful scenes while the later often follows scenes of war and fighting. The commonly used percussion instruments include castanets, drums, bells and cymbals. One person usually plays the castanets and the drum simultaneously, which are the conductor of the whole band. The orchestral instruments mainly compose of the Erhu, the Huqin, the Yueqin, the Sheng (reed pipe), the Pipa (lute) and other instruments. The band usually sits on the left side of the stage. There are four main roles in Beijing Opera: Sheng, Dan, Jing and Chou.

"Sheng" are the leading male actors and are divided into "Laosheng," who wear beards and represent old men, "Xiaosheng," who represent young men, "Wusheng," who are acrobats who play military men and fighters, and "Wawasheng" who play kids. These roles usually wear no facial paintings. "Hongsheng, another category of "Sheng" whose face is painted red, mainly plays "Guanyu" (Chinese Ares) and "Zhao Kuangyin" (the founder of the Song Dynasty).

"Dan" is the female roles. Formerly, the term meant female impersonator. It is divided into many categories. "Laodan" are the old ladies while "Caidan" the female comedians. "Wudan" usually play military or non-military women capable of martial arts. The most important category, "Qingyi" usually play respectable and decent ladies in elegant costumes. "Huadan" represent lively and clever young girls, usually in short costumes. "Jing," mostly male, are the face-painted roles who represent warriors, heroes, statesmen, adventurers and demons. "Jing" is generally categorized into "Zhengjing," "Fujing" and "Wujing."

"Chou" refers to clowns who are characterized by a white patch on the nose. Usually white patches of different shape and size mean roles of different character. They are not definitely rascals, while most of the time they play roles of wit, alert and humor. It is these characters who keep the audience laughing and improvise quips at the right moments to ease tension in some serious plays.

Facial Painting

It is said that this special art derived from the Chinese opera has different origins. But no matter what its origin is, the facial painting is worth appreciating for its artistic value. The paintings are presentations of the roles of the characters. For example, a red face usually depicts the role's bravery, uprightness and loyalty; a white face symbolizes a sinister role's treachery and guile; a green face describes surly stubbornness, impetuosity and lack of self-restraint. In addition, the pattern of the facial painting reveals the role's information too. In a word, the unique makeup in the opera allows the characters on the stage to reveal them voicelessly.