Aesthetics of Peking Opera
Peking Opera is one of the most well known Chinese opera that has a 200-year long history. Traditionally, the audience in China goes to the theatre to enjoy the unique interpretations of the actors rather than to see a story they already know. It is definitely not easy to understand Peking Opera but with a little background knowledge about the aesthetics of Peking Opera, you will at least be able to understand the basics of it.
Make Up (Masks & Face Paint)
The main method of make up in Peking Opera used to be masks. It was easier for the performers to play various different characters in one show as they could change their ‘faces’ several times and using masks made it easier. These opera masks were generally made of ceramic material. There were also masks made of simpler materials like paper and tissue with bases made of silk as well. [1]
Recently, most of the performers use face painting instead, so as to let them express more emotions through their facial expressions. The types of facial make up in Peking Opera are the most systematic and sophisticated one. The characters are provided with different facial make up, which reflects the character’s identity, status, personality and appearance, intensifying the artistic appeal on stage. [2] Face painting in Peking Opera falls into four categories: - Personality make up (refers to the facial designs, painted faces) - Decorative make up (refers to decorated faces) - Mood make up (refers to changing and altering facial designs) - Pictographic make up (refers to animal-like facial designs) |
Zooming into personality make up, it is initially derived from an individual’s life encounters and experiences, characterized by the changes of expressions such as fear, illness and shyness. On top of that, different colours are also used to symbolize the various characters [3]
Different colours can also distinguish nobility from the common folk, goodness from evil or loyalty from treachery. [4]
Different colours can also distinguish nobility from the common folk, goodness from evil or loyalty from treachery. [4]
The four roles in Peking Opera – 生 ‘sheng’, 旦 ’dan’, 静 ’jing’ and 丑 ’chou’, also has different facial make up. The ‘jing’ and ‘chou’ has a more elaborate facial make up with the ‘chou’ commonly having a white nose for comic relief. The facial make up of the ‘jing’ characters is much more complex with different patterns like the ‘whole face’, ‘three- tile face’, ‘quartered face’, ‘six-division face’, ‘tiny-flowered face’ and ‘lopsided face’. Each pattern has its own symbolic meaning and is rooted in the character’s ability to reflect subtle and interesting changes in a human expression.
E.g. Meng Liang, a warrior of the Song Dynasty. Red is the dominant colour of his facial make-up. On his forehead is the pattern of an inverted gourd. This pattern represents a particular weapon called "gourd containing fire lighter" he uses. Although facial make-up is extremely stylized in the colours and patterns used, no two painted faces are alike. [5] |
[9], [10], [11]
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Costumes
[12], [13]
Costumes are a crucial aspect of Peking Opera as well. Back then, opera costumes were mainly made of wool or coarse cloth. It was much later then did the people started using satin and silk, decorating the costumes with meticulous embroidered patterns.
There are certain basic rules of costume tradition:
- Anachronisms are acceptable. The costume of a performer basically designates his or her role on stage no matter when or where it is.
- Weather is described in every act and made clear by the actor’s movements rather than the costumes. Costumes remain the same despite the different seasons.
- The costumes must allow the audience to distinguish the character’s sex and status at first glance.
- Distinction between good and evil characters should also be portrayed through the characters’ costumes.
- Baldrics, a belt for a sword or other piece of equipment, function to bring about more dramatic effects on stage.
There are twenty major kinds of costumes including the ceremonial robe, the informal robe, and the armour. Many details go into making these costume and you can find out a lot of things about the character through the costumes. For example, the general costume for the emperor and nobles is the ceremonial robe. However, details like where the mouth of the dragon embroided on the robe determines whether or not the character is the emperor or ministers/generals. [6]
There are certain basic rules of costume tradition:
- Anachronisms are acceptable. The costume of a performer basically designates his or her role on stage no matter when or where it is.
- Weather is described in every act and made clear by the actor’s movements rather than the costumes. Costumes remain the same despite the different seasons.
- The costumes must allow the audience to distinguish the character’s sex and status at first glance.
- Distinction between good and evil characters should also be portrayed through the characters’ costumes.
- Baldrics, a belt for a sword or other piece of equipment, function to bring about more dramatic effects on stage.
There are twenty major kinds of costumes including the ceremonial robe, the informal robe, and the armour. Many details go into making these costume and you can find out a lot of things about the character through the costumes. For example, the general costume for the emperor and nobles is the ceremonial robe. However, details like where the mouth of the dragon embroided on the robe determines whether or not the character is the emperor or ministers/generals. [6]
[1] http://www.cctv.com/english/special/operamaster/20090619/108284_1.shtml
[2] http://www.cultural-china.com/chinaWH/html/en/27Arts175.html
[3] http://www.cctv.com/english/special/operamaster/20090619/108284_1.shtml
[4] http://www.ebeijing.gov.cn/BeijingInformation/BeijingsHistory/t1247164.htm
[5] http://www.ebeijing.gov.cn/BeijingInformation/BeijingsHistory/t1247164.htm
[6] http://www.ibiblio.org/chineseculture/contents/entr/p-entr-c01s02.html
[7] http://www.stevenzheng.com/bg/uploadfile/200909/Beijing%20opera%205-
[8] http://arts.imextrade.ru/cms_files/Image/chinese_arts/opera_syao-shen.jpg
[9] http://www.chinadaily.com.cn/ezine/att/site1/20070511/xin_2205041116080971182874.jpg
[10] http://www.topchinatravel.com/pic/china-guide/performance/peking-opera-2.jpg
[11] http://www.chinaopera.net/english/upload/PekingOpera-Chou-Clown.jpg
[12] http://www.chinaculture.org/img/2003-09/24/xq20_01.jpg
[13] http://www.chinaculture.org/img/2003-09/24/xq20_02.jpg
[2] http://www.cultural-china.com/chinaWH/html/en/27Arts175.html
[3] http://www.cctv.com/english/special/operamaster/20090619/108284_1.shtml
[4] http://www.ebeijing.gov.cn/BeijingInformation/BeijingsHistory/t1247164.htm
[5] http://www.ebeijing.gov.cn/BeijingInformation/BeijingsHistory/t1247164.htm
[6] http://www.ibiblio.org/chineseculture/contents/entr/p-entr-c01s02.html
[7] http://www.stevenzheng.com/bg/uploadfile/200909/Beijing%20opera%205-
[8] http://arts.imextrade.ru/cms_files/Image/chinese_arts/opera_syao-shen.jpg
[9] http://www.chinadaily.com.cn/ezine/att/site1/20070511/xin_2205041116080971182874.jpg
[10] http://www.topchinatravel.com/pic/china-guide/performance/peking-opera-2.jpg
[11] http://www.chinaopera.net/english/upload/PekingOpera-Chou-Clown.jpg
[12] http://www.chinaculture.org/img/2003-09/24/xq20_01.jpg
[13] http://www.chinaculture.org/img/2003-09/24/xq20_02.jpg