ChineseOpera中国戏曲简介.ppt

ChineseOpera,CONTENTS,1.BriefIntroduction2.ChineseOperaMasks3.ChineseOperaRoles4.ChineseOperaAppreciation,Introduction,ChineseoperaisapopularformofdramaandmusicaltheatreinChinawithrootsgoingbacktotheearlyperiodsinChina.ItisacompositeperformanceartthatisanamalgamationofvariousartformsthatexistedinancientChina,andevolvedgraduallyovermorethanathousandyears,reachingitsmatureforminthe13thcenturyduringtheSongDynasty.,EarlyformsofChinesedramaaresimple,butovertimetheyincorporatedvariousartforms,suchasmusic,songanddance,martialarts,acrobatics,aswellasliteraryartformstobecomeChineseopera.TherearenumerousregionalbranchesofChineseopera,ofwhichtheBeijingopera(Jingju)isoneofthemostnotable.,FarewellMyConcubine,onepieceofclassicalPekingopera.Thewoman,ConsortYu,deeplylovedtheKingXiangYu(middleofthestage),andwhenhefailedinawar,shecommittedsuicideforhim.,NorthernBeijingopera(京剧)Yujuopera(豫剧)Errenzhuan/Bangzixi/Benbengopera(二人转)(NortheastChina)Hebeibangzi(河北梆子)(Hebei)Jiju(吉剧)(Jilin)Lju(吕剧)(Shandong)Pingju(评剧)(Hebei)Puju(蒲剧)(Shanxi)Qinqiang/Qindynastyopera(秦腔)(Shaanxi)Zaju(雜劇)Jinju(晋剧)(Shanxi),SouthernCantoneseopera(Guangdong)Gaojiaopera(Quanzhou)Huaguxi(Hubei/Hunan)Huju(Shanghai)KunquLiyuanoperaTeochewoperaMinopera(Fuzhou)Nanxi(Wenzhou)Ouju(Wenzhou)Shaoxingopera/Yueju(Zhejiang)TaiwaneseoperaWuju(Jinhua),Varieties,TheMeaningofColorsinBeijingOperaMasks,RedColorRedindicatesdevotion,couragebravery,uprightnessandloyalty.AtypicalredfullfaceisGuanYu,generaloftheperiodoftheThreeKingdoms(220-280),famedforhisfaithfulnesstohisEmperor,LiuBei.,BlackColorBlacksymbolizesroughnessandfierceness.Theblackfaceindicateseitheraroughandboldcharacteroranimpartialandselflesspersonality.TypicaloftheformerareGeneralZhangFeiwithablackcrossbutterflyface(oftheRomanceoftheThreeKingdoms)andLiKui(ofWaterMargin),andofthelatterisBaoGong(aliasBaoZheng),thesemi-legendaryfearlessandimpartialjudgeoftheSongDynasty.,YellowColorYellowsignifiesfierceness,ambitionandcool-headedness.ShownisTuxingSunwithayellowsymbolicface,adwarfgeneralwithspecialpowersintheoperaThreeMountainPass.,PurpleColorPurplestandsforuprightness,sophisticationandcool-headedness).Thereddishpurplefacelikewiseshowsajustandnoblecharacter,forinstance,HouYiwithapurplethree-tilefacewasagrainofficerversedinblackmagicintheoperaGreenDragonPass.,BlueColorBluerepresentsstaunchness,fiercenessandastuteness.ShownisXiahouDunwithabluepointedthree-tileface,CaoCaosmosttrustedgeneralintheoperaBowangSlope.,WhiteColorWhitesuggestssinisterness,treacherousness,suspiciousnessandcraftiness.Commonlyseenonthestageisthewhitefaceforthepowerfulvillain.Ithighlightsallthatisbadinhumannature:cunning,craftiness,andtreachery.ThetypicalcharacterisCaoCao,powerfulandcruelprimeminister.CaoCaowithawaterywhitefaceistheleadingcharacterintheoperaMeetingoftheElite.”,GreenColorAgreenfacetellstheaudiencethatthecharacterisimpulsiveandviolentanddepictssurlystubbornness,impetuosityandatotallackofself-restraint.ZhengWunwithagreenpointedthree-tilefaceplaysageneralintheoperaGreenDragonPs.,PettyPaintedFaceFortheclownsoftraditionaldrama,thereisaspecialmakeupcalledxiaohualian(thepettypaintedface),i.e.,asmallpatchofchalkonandaroundthenosetoshowameanandsecretivecharacter,suchasJiangGanoftheThreeKingdomswhofawneduponCaoCao.Itisalsooccasionallypaintedonayoungpageoranordinaryworkingman,oftentoenhancehiswit,humororjestingandtoenlivenuptheperformance.,GoldandSilverColorsGoldandsilvercolorsareusuallyusedforgodsandspirits.Themaincolorinafacialmakeupsymbolizesthedispositionofthecharacter.,PinkColorOld,highlyrespected,loyalandbraveveteran.,GreyColorAfierceandpowerfulperson.,ChineseOperaRoles,ShengDanJingChou,Thelaoshengisadignifiedolderrole.Thesecharactershaveagentleandcultivateddispositionandwearsensiblecostumes.Onetypeoflaoshengroleisthehongsheng,ared-facedoldermale.TheonlytwohongshengrolesareGuanGong,theChinesegodofswornbrotherhood,loyaltyandrighteousness,andZhaoKuang-yin,thefirstSongDynastyemperor.,Youngmalecharactersareknownasxiaosheng.Thesecharacterssinginahigh,shrillvoicewithoccasionalbreakstorepresentthevoicechangingperiodofadolescence.On-stage,xiaoshengactorsareofteninvolvedwithbeautifulwomenbyvirtueofthehandsomeandyoungimagetheyproject.,Thewushengisamartialcharacterforrolesinvolvingcombat.Theyarehighlytrainedinacrobatics,andhaveanaturalvoicewhensinging.,GuimenDan(闺门旦)istheroleofthevirtuouslady.ItisalsoknownasQingyi(青衣）orZhengdan(正旦).QingYiarenormallymatureandsometimesmarriedwomen.Theymayberichorpoor,youngorofmiddleage,buttheyhavetobematurewomentofallunderthiscategory.ThemostfamousqingyiofthelastcenturywasMeiLanfang.ExamplesofGuimenDanareDuLiniang(杜丽娘)fromThePeonyPavilion(牡丹亭)andWangBaochuan(王宝钏）fromWujiapo（武家坡).,HuaDan(花旦)arelively,vivaciousyoungfemalecharacters(huameansflower).Theynormallywearshortblouseswithpantsorskirts.Often,aGuimenDanisaccompaniedbyaHuaDanmaid.HongNiang(红娘)oftheRomanceoftheWestChamber(西厢记)andYanXijiao(阎惜姣)ofWulongyuan(乌龙院)haveinvolvedtheroleofHuaDan.,DaomaDan(刀马旦)areyoungfemalewarriors.ThenameDaomaDan,meaningswordandhorsedan,indicatesthestyleofperformancewhichusuallyinvolveshorseridingwithaspear.ThiscategoryissuperficiallysimilartoWuDan(武旦)butthereisadifference.DaomaDandoesnotfightasmuchasWuDan.,DaomaDanusuallywearsfemalewarriorcostumeswiththeflagsbehind.ExamplesofDaomaDanareLiangHongyuandMuGuiying.Daomadan(刀马旦)isalsotheoriginalChinesetitleofthe1986HongKongfilmPekingOperaBlues,directedbyTsuiHark.,WuDan(武旦)specializedinfightingwithallkindsofweapons.TheWuDanengagesinfightingwithopponentsbesidesjustdoingstunts.Inthepast,theWuDanneededtoperformcaiqiao(踩跷),whichtheDaomaDandidnotdo.WuDanmustmastermanyacrobaticmovements.Theyspecialiseonlyinfightinghencetheyseldomsingorspeak.ExamplesofWuDanareZhizhuJing(蜘蛛精)ofPansidong(盘丝洞)andHuSanniang.,LaoDan(老旦)areolderwomen(laomeansold).QingyisinginhighpitchedandpiercingvoiceswhileLaoDansinginalowerpitchedvoice.LaoDancostumesarealsolessvibrantcomparedtootherfemalerolesandtheyhavemuchsimplerhairstyles.AnexampleisSheTaiJun(舍太君)ofYangMenNuJiang(杨门女将).,CaiDan(彩旦)aretheclownishfemaleroles.CaiDandonotactlikenormalDanandtheydoclownishgestures.Theirmovementsresemblenormaldailymovementsandtheyspeakinnormalvoices.Clownishdansarenownormallyperformedbymen;hencetheyarephysicallyunattractive,whichisexaggeratedbytheirhideousmakeup.,Jingalsoknownaspaintedfaces,jingcharacters-hottempered,roughanduninhibitedmen-arecharacterizedbyfacialmakeups.FourmaintypesofJingrolesareoftenseen.TheseincludeZhengjing,Fujing,WujingandMaojing.,Chou(clown)isthefourthrolecategoryinPekingOperaandservesasafoiltotheleadingcharacter,butitpredatedotherrolecategories.Nochourole,noplayhaslongbeenapopularsaying.wenchouandwuchou,ChineseOperaAppreciation,VisualperformanceelementsPeking-operaperformersutilizefourmainskills.Thefirsttwoaresongandspeech.Thethirdisdance-acting.Thisincludespuredance,pantomime,andallothertypesofdance.Thefinalskilliscombat,whichincludesbothacrobaticsandfightingwithallmannerofweaponry.Alloftheseskillsareexpectedtobeperformedeffortlessly,inkeepingwiththespiritoftheartform.1.Aestheticaimsandprinciplesofmovement2.Stagingandcostumes,Auralperformanceelements1.Vocalproduction2.Stagespeech3.Song4.Music,1.VocalproductionVocalproductioninPekingoperaisconceivedofasbeingcomposedoffourlevelsofsong:songswithmusic,verserecitation,prosedialogue,andnon-verbalvocalizations.Theconceptionofaslidingscaleofvocalizationcreatesasenseofsmoothcontinuitybetweensongsandspeech.Thethreebasiccategoriesofvocalproductiontechniquearetheuseofbreath(yongqi),pronunciation(fayin),andspecialPeking-operapronunciation(shangkouzi).,2.StagespeechPekingoperaisperformedusingbothClassicalChineseandModernStandardChinesewithsomeslangtermsaddedforcolor.Pekingoperafeaturesthreemajortypesofstagespeech(nianbai).Monologuesanddialogue,whichmakeupthemajorityofmostplays,consistofprosespeeches.ThesecondmaintypeofstagespeechconsistsofquotationsdrawnfromclassicalChinesepoetry.ThistypeisrarelyusedinPekingopera;playshaveoneortwosuchquotationsatmost,andoftennoneatall.Thefinalcategoryofstagespeechisconventionalizedstagespeeches(chengshinianbai).Thesearerigidformulationsthatmarkimportanttransitionpoints.,3.SongTherearesixmaintypesofsonglyricsinPekingopera:emotive,condemnatory,narrative,descriptive,disputive,andsharedspaceseparatesensationslyrics.Eachtypeusesthesamebasiclyricalstructure,differingonlyinkindanddegreeofemotionsportrayed.,3.SongSongsinPekingoperaareproscribedbyasetofcommonaestheticvalues.Differentperformersinthesameperformancemaysingindifferentkeys,requiringtheaccompanyingmusicianstoconstantlyretunetheirinstrumentsorswitchoutwithotherplayers.Performersmakeextensiveuseofvocalvibratoduringsongs,inawaythatisslowerandwiderthanvibratousedinWesternperformances.ThePek