京剧概述

京剧本来是一种地方性的戏剧表演形式，由于它传遍中国大江南北，深受群众欢迎与喜爱，所以就慢慢演变成了代表中国艺术特色的全国性戏剧。

大约在200多年前，清朝的乾隆皇帝在南巡时，对地方上的戏剧产生了浓厚的兴趣。于是，在他80岁生日的时候，下旨传召了很多地方上的戏剧表演团来京为他祝寿。部分戏剧表演者在表演结束后，就留存了北京。这些来自安徽与湖北的表演家将昆曲与宫庭戏剧相结合，逐步演变和发展成了 后来响誉中国的“京剧”。

京剧表演融合了唱、念、作、打等多种艺术表现形式，辅以五彩缤纷的服装道具以及化妆。在京剧

中，女性的角色被称做“旦”，男性的角色被称做“生”，小丑被称做“丑”每个角色都会依照他们的性别、年龄及个性，在脸上画不同的脸谱，这样，观众可以很容易地分清这些演员所扮员的角色是什么样的性格。化妆、服饰、行头—这些都是令人称奇的艺术品。

在过去，京剧中的角色只能由男性扮演，而现在，无论是男人还是女人，都可以登台演出了。当你来到中国的时候，一定要去看一场京剧，就像是你到了意大利一定要去听一场歌剧一样。当然，中国还有很多其它的戏剧，比如说“昆曲”、“评剧”、“河北邦子”等等。

Peking Opera

Originally a form of local theatre, Peking Opera spread all over the country and then became the national opera of China. About 200 years ago, the Qing Emperor Qianlong toured in southern China and developed an interest in the local operas. On his 80th birthday, he let local opera troupes come to Beijing to perform for him. Some remained in Beijing after the celebration. The ones from Anhui and Hubei were incorporated with the palace opera -Kunqu Opera, which formed the Peking Opera .Peking Opera combines stylized acting with singing, dancing, musical dialogues, martial arts, colorful facial make-up and fantastic costumes.

Male roles are “Sheng”, and clowns are “Chou”. Each role, according to their sex, age and disposition, is characterized by different designs of facial make-up, say, Jing representing a rough, frank character and Hua Face representing a cruel or sinister character. So the audience can easily tell what kind of character an actor is performing.Facial make-up, costumes and head - dresses are wonderful works of traditional art.

In the past, both Dan and Sheng roles were played by male actors, but now they also can be played by female. It is necessary to see Peking Opera while you are in China, just as seeing an opera while in Italy. There are also some other types of opera staged in China, such as Kunqu Opera, Pingju Opera and Hebei Bangzi as well as other operas from different places.

京剧行当

京剧在塑造人物方面有其独特的造型语言。它把不同性别、性格、年龄、身份的人物划分为不同的行当，一般说来有\"生、旦、净、丑\"四大行当。由于京剧人物造型形象鲜明、风格多样，有强烈的剧场效果，常常更易于激起观众的欣赏兴趣。 生行

京剧中的 \"生\"，一般指剧中扮演男子的演员，其中又可细分为\"老生\"、\"小生\"和\"武生\"。\"老生\"，顾名思义就是中老年男子角色，在剧中多扮演正直刚毅的人物形象，例如京剧《伍子胥》中的伍子胥.他们演出时要戴挂在耳朵上的假胡须，在京剧的行话中也叫\"髯口\"，因此还专门有一套髯口上的表演功夫。胡须的颜色表示了人物的年龄。京剧《四郎探母》中的杨四郎年约三十岁，所戴胡须为黑色。京剧《秦香莲》中王延龄年约六十，所戴胡须为白色。老生在剧中一般注重演唱和细腻表演，唱腔上也最为丰富。台词用京剧中的韵白来表现，演唱用真声，风格刚劲、挺拔、质朴、醇厚，动作造型也以雍容、端方、庄重为基调。与老生相对应的是 \"小生\"，在京剧中指青少

年男子角色，他们在剧中的动作造型儒雅倜傥、秀逸飞动。在演唱上采用真假声结合的唱法，演唱风格华美和明亮。例如京剧《白蛇传》中的许仙.

\"武生\"是指扮演剧中年轻的男性武将，他们用高超的武打技术来展示剧中人物的武艺高强。不重演唱，注重武打动作的娴熟和技巧的难度。例如京剧《长坂坡》中的赵云.

Role of Sheng

The roles on the Chinese opera stage fall into four categories -- Sheng, Dan, Jing and Chou. These roles have the natural features of age and sex, as well as social status, and are artificially exaggerated by makeup, costume and gestures.

Sheng, a male role, usually a leading one, dates back to Southern Drama of the Song and Yuan Dynasties (960-1368). This role appears in operas in all historical periods. According to the age and social status of the characters, Sheng falls into five sub-groups: Laosheng, Xiaosheng, Wusheng, Hongsheng and Wawasheng (characters of children).

Laosheng is also known as Xusheng, meaning bearded men, because the actors wear artificial beards, and they are middle-aged or elderly men. Most are upright and resolute characters. They sing in their natural voices, and their actions are serious ones.

Xiaosheng is a sub-category of Sheng representing young male characters. They don't wear artificial beards. They always sing in their real voices, while in Kunqu and Pihuang operas the singing mixes natural and falsetto voices.

Wusheng stands for all of the male characters who appear in battle scenes. They are further subdivided into Changkao Wuheng, Duanda Wusheng, Goulian Wusheng and Houxi Wusheng. They always wear helmets and thick-soled boots. The generals always carry long pikes. Wusheng roles call for sturdy and vigorous actions, with resounding declamations. The movements of the waist and legs are powerful, and a high level of martial arts skills is demanded in these roles. Duanda Wusheng roles use short-handled weapons, and their movements are light and swift.

旦行

京剧中把女性统称为\"旦\"，其中按照人物的年龄、性格又可细分为许多行当，饰演大家闺秀和有身份的妇女称为\"正旦\"，正旦在京剧中俗称\"青衣\"，这就是因为正旦所扮演的角色常穿青色的长衫而得名。京剧《窦娥冤》中的女主角窦娥就是典型的青衣角色。青衣的表演庄重娴静，秀雅柔婉，以唱功为主，一般说来，青衣的唱腔旋律优美，细腻婉转。旦行中的\"花旦\"，多扮演天真活泼或放荡泼辣的青衣妇女，在表演上注重做工和念白，例如《红娘》中的红娘. \"武旦\"和\"刀马旦\"相当于生行中的武生，扮 演的是擅长武艺的青壮年妇女，装扮和武生差不多，也扎靠服，她们多在剧中扮演

女侠、女将甚至女仙、女妖等。武旦和刀马旦的表演往往还伴随着热闹的锣鼓点，烘托场上的气氛。

\"老旦\"，指在剧中扮演老年妇女的角色行当。为突出老年人的特点，走路迈一种沉稳的横八字步，服装色调为色彩偏暗的秋香色、墨绿色，演唱用真声表现。

Role of Dan in Peking Opera

The roles on the Chinese opera stage fall into four categories: Sheng, Dan, Jing and Chou. These roles have the natural features of age and sex, as well as social status, and are artificially exaggerated by makeup, costume and gestures.

Dan is the general term in Peking Opera for female roles. As early as in the Song Dynasty (960-1279), the Zhuangdan role appeared. Southern Drama and Northern Zaju, which developed during the Song and Yuan Dynasties (960-1368), also had Dan roles. After Kunqu matured, it had Zhengdan, Xiaodan, Tidan and Laodan. Later, more Dan types were developed. Nowadays, the Dan roles are subdivided into Zhengdan (or Qingyi), Huadan, Wudan, Laodan and Caidan, in accordance with age, characteristics and social positions of the roles.

Zhengdan role was the main Dan role in the Northern Zaju. Zhengdan refers to young or middle-aged women with gentle and refined dispositions. Most of Zhengdan 's lines are delivered in song, and even the spoken parts are recited in rhythmic style. Always dressed in a blue gown, Zhengdan is also called Qingyi (blue clothes).

Huadan is a role for a vivacious maiden, a young woman with a frank and open personality, or a woman of questionable character.

Wudan refers to female characters skilled in the martial arts and can be subdivided into Daomadan and Wudan, according to the social positions and skills represented. Daomadan is good at using pikes and spears, and at riding horses. Wudan always wears short robes and the role emphasizes acrobatics. Wudan plays gods and ghosts and has excellent fighting skills.

Laodan usually represents aged women. He/She sings in their natural voices, in a style similar to that of Laosheng but in milder tones. In some types of opera, Laodan is called Fudan or Bodan.

Caidan, also called Choudan, represents clownish and cunning females. The performance of this part calls for exuberance.

净行

在京剧中，\"净\"角是舞台上具有独特风格的人物类型，脸部化妆最为丰富彩。\"净\"因面部化妆要用各种色彩和图案勾勒脸谱，所以又俗称\"大花脸\"。一般扮演品貌或者性格有特点的男子，在京剧中多为将军、神化人物或有一定 社会地位的人，虽有文武善恶之分，但在性格气质上都近乎粗犷、奇伟、

豪迈，因而在演唱上要求用真声演唱，音色宽阔洪亮、粗壮浑厚，动作造型也要求粗线条，气度恢宏，以突出扮演人物的性格和声势。 Role of Jing

The roles on the Chinese opera stage fall into four categories: Sheng, Dan, Jing and Chou. These roles have the natural features of age and sex, as well as social status, and are artificially exaggerated by makeup, costume and gestures.

Jing refers to painted-face roles, known popularly as Hualian. The different colors and designs on the faces represent males with different characteristics. Some are bold and vigorous and some are sinister, ruthless, crude and rash. The voice is loud and clear, and the movements are exaggerated.

The Jing role originates from the Fujing role of the Song Zaju. The Jing roles gradually increased in number, and became further divided into several groups, according to the different social positions and characters of the roles.

Dahualian with a fully painted face is known as Zheng Jing. The roles represent men of high social standing and good behavior, often court ministers. Zheng Jing sings in vigorous and sturdy tones.

Erhualian, also known as Fu Jing, has powerful bodily movements and sturdy singing voices. Some roles in this group represent rascally ministers, recognizable by their white faces.

Wu'er Hualian is also known as Wu Jing. This role is more physical than most of the others, with little singing or reciting.

You Hualian, also known as Mao Jing, is a clownish role. Some of You Hualian roles have special skills, such as spouting fire from the mouth or baring the teeth.

丑行

京剧中的\"丑\"角演员又称为\"小花脸\"。\"丑\"行的化妆虽与大花脸有点相象，可是他的表演风格却完全不同，有点像夸张的漫画。丑角的出场常会带来满堂的笑声。

\"丑\"分\"文丑\"和\"武丑\"两类。武丑扮演的经常是一些机警风趣、武艺高超的人物，象绿林好汉、侠盗小偷等等。\"文丑\"经常扮演花花公子、狱卒、酒保、更夫、老兵等。不管文丑或武丑，虽有文武善恶、身份高低之分，在剧中都是幽默、滑稽的喜剧人物，也并不都是反派。

京剧的行当是经过长期的提炼和规范，突出人物的内在特征，把人物的内在特征加以外化而形成的，是京剧与其他戏剧形式不同的重要特征。

Role of Chou in Peking Opera

The roles on the Chinese opera stage fall into four categories: Sheng Dan, Jing and Chou. These roles have the natural features of age and sex, as well as social status, and are artificially exaggerated by makeup, costume and gestures.

The Chou is one of the main roles in Peking Opera. The eyes and nose are surrounded by a white patch, so Chou is also known as Xiao Hua Lian (partly painted face).

The Chou roles originated in Southern Drama of the Song and Yuan dynasties (960-1368) and appear in various kinds of operas. They portray various kinds of characters, some are warm-hearted, simple and sincere, and some are sinister and mean.

In modern operas, the performance of Chou roles has developed rapidly, and different operas have their own styles. In general, the Chou roles do not focus on singing, but the dialogue is clear and fluent. According to the social positions, characters and skills demanded, the Chou roles are divided into two categories: Wenchou (civilian) and Wuchou (martial). Both have their own special features.

Wuchou is also known as Kai Kou Tiao. It requires not only a good command of the martial arts or acrobatics, but also the ability to deliver the lines both clearly and fluently. The movements should be light and powerful.

京剧服装

传统的京剧服装不受时代、地域的限制，只要是表现封建社会内容的戏，不管是表现什么朝代，什么地域都可以用。其概括的能力非常之大，使用的范围也非常之广，它只受角色的身份、行当的制约。 另外，京剧的服装还不受季节的影响。一般的情况下，不分纱、丝绸、棉、皮、夹的、单的等等。除非剧情有特定的要求，一定要表明季节，才根据剧情略略的加一些装饰性 的点缀。（比如：下雪时，仅仅加一个斗篷就足以表明是雪天了）。

京剧服装还不受生活逻辑的制约。比如有：水袖、靠背旗、雉尾等等，都是为了表现角色的表演而佩带的。 京剧的服装分得非常细致的。比如：“蟒”。这种服装就是帝王将相有爵位的人在朝贺、宴会等非常庄重严肃的场合才穿的礼服。

虽然都称为“蟒”，但是，根据剧情中人物的身份和地位的不同，是大有区别的。 比如：皇帝穿的“蟒”，衣服上绣的叫“龙”这个龙有五爪。而且龙是张着嘴，嘴里吐出火珠。

而亲王、大臣、将帅的“蟒”上绣的也是“龙”的形状，但是不叫“龙”，叫“蟒”。“蟒”只有四个爪，“蟒”的嘴是闭着的，象征着群臣折服。

文官的衣服上绣的龙是“团龙”，很文静。武官衣服上绣的龙多是“散龙”，呈腾越的姿势，象征着威武、果敢。 “蟒”的颜色有很多的区别：分别有上五色和下五色之分。上五色有：黄、红、绿、白、黑。下五色有：蓝、古铜、紫、粉、秋香色。

什么人物穿什么颜色的衣服，这在京剧里面是非常讲究的。拿“黄色”来说，就有两种“黄色”：正黄色（浅黄），这种黄色只有皇帝才能穿。而太后、太子、亲王虽然也穿黄色，但是必须是深黄色（杏黄色）。

红色的“蟒”表示很庄严高贵，是地位比较高的王侯、宰相、驸马、钦差、元帅才能穿用。 绿色的“蟒”表示威严英武，是地位很高的武官的穿戴。另外，还包括一些“绿林好汉”“草莽英雄”。 而穿白色“蟒”袍的大多是少年英俊、潇洒的人

物。

黑色“蟒”袍的穿戴者多是刚直不阿、性情威猛、豪爽的人物。 以上是“上五色”。 “下五色”相对面就宽了一些。 男士在穿蟒时，必须围玉带。

注：白蟒还有一种特殊的用途那就是给\"草寇\"用的。区别是：一般的达观贵人穿蟒必须穿到脚面。而草寇穿的蟒只穿到膝盖，用以表示他们并不是正统的帝王将相，但是看似庄重，反而给人一种浅薄可笑的意义在里面。

女蟒：女蟒的颜色比较少，只有黄、红、白等颜色。黄色自然是给皇后专用，其他女官均穿红色的蟒袍。 白色的蟒袍是孝服。

老旦蟒：蟒袍仅过膝盖，但是必须佩带凤冠、腰挂玉带。太后穿的是杏黄色蟒袍、其他如：一品诰命夫人、贵夫人、太夫人则穿秋香色的蟒袍，头上要戴老旦冠，腰间系丝绦以和皇太后区别。

简蟒：简蟒的式样与蟒相同，只是刺绣的图案少一些。这是为了减轻重量，利于表演。简蟒虽然简单一些，但是地位并不低下，头戴相纱以示地位的尊贵和职务的显赫。

还有一种是太监们专用的蟒袍，样式和其他蟒袍一样，只是下身开隙，是随驾太监一类人的穿着。

Characteristics of Peking Opera Costumes

Peking Opera was born in the 55th year (1790) of the reign of Emperor Qianlong of the Qing Dynasty (1644-1911), when four big Huiban opera troupes entered Beijing and began to adopt elements of the Kunqu, Yiyang, Hanju and Luantan opera forms already popular in capital's playdom at the time. More than half a century later, the troupes combined and integrated stories and methods from the various popular opera styles they encountered, eventually resulting in form of Peking Opera.

Xingtou

Peking Opera costumes are called Xingtou or, more popularly, Xifu in Chinese. The origins of Peking Opera costumes can be traced back to the mid-14th century, when operatic precursors first began experimenting with large ornate articles of clothing.

Rules of Costume Tradition

(1) Anachronisms are allowable. A performer's costume primarily designates his or her role on the stage no matter when or where the action takes place. Characters, whether they are from ancient times or in pre-modern China, appear on the Chinese opera stage wearing costumes suitable to their roles.

(2) Regardless of which season is being depicted in performance, the opera costume is the same. Weather is described in every scene and must be made clear by the actor's movements, rather than his clothing.

(3) Peking Opera costumes must enable the audience to distinguish a character's sex and status at first glance. In terms of symbolism, Peking Opera costumes have its social hierarchy -- noble or humble, civilian or military, official or private citizens.

(4) By means of a subtle difference, opera costumes often give expression to sharp distinctions between

good and evil or, preferably, loyal and wicked characters. Oblong Wings (chizi) attached to a gauze hat indicate a loyal official. In contrast, a corrupt official is made to wear a gauze hat with rhomboidal wings.

(5) Baldrics, though apparently of little or no account as compared with such principal items as crowns and robes, may nevertheless function to bring about more dramatic effects on the stage. For instance, the wings attached to a hat, the plumes (lingzi) pinned to a helmet and the cascading sleeves (shuixiu) sewn to a garment accentuate movement even if they have little practical use.

In the early days, opera costumes were mainly made of wool or coarse cloth; later, satin, crepe and silk were used, decorated with various meticulously embroidered patterns. The making of opera costumes is a special and unique stagecraft. The costume box first appeared in the Ming Dynasty (1368-1644), and was greatly improved in the Qing Dynasty (1644-1911).

Lavish Costumes

(1) Headdress: Designated by the general term Toukui, opera headdress comprises such items as crown, helmet, hat and scarf. Crowns are for the emperor and nobles; military people wear marshals, helmets; ordinary folks wear soft scarves or straw hats. Some headgear, such as crowns, is rigid, while others are soft.

(2) Costume: There are 20 major kinds of costumes, including the ceremonial robe, or Mang; the informal robe, or Pei; and the armor, or Kao, for soldiers. Ten colors are used, half of which are the five primary colors (or shang wu se), namely, red, green, yellow, white and black, in contrast to the other group of pink, blue, purple, pale-brown and pale-blue, all of which are labeled secondary colors (xia wu se).

Many details should be paid attention to, for example, Mang is the general costume for the emperor and nobles, but there are differences between these costumes. There is a dragon, opening its mouth on the Mang for the emperor, while the dragon on the Mang for the ministers and generals having its mouth closed. The dragons on the costume of the civil officials are gentle and quiet, while the ones on the costume of the martial officials are bold and mighty. There are clear distinctions between the use of colors, for example, the red Mang stands for majestic and noble, the green Mang indicates mighty and bold, the white one fits the handsome young people, and the black one is for the upright and unconstrained people. Besides, there are simplified Mang and Mang specifically made for the female actress, the Laodan, and the palace eunuch.

(3) Opera shoes: A wide variety of shoes and boots are used in opera performance, mainly platform boots (hou di xue), tiger-headed boots (hu tou xue), thin-soled combat footwear made of black satin (kuai xue), fish-head pugilist's shoes, laced boxer's shoes, etc.

京剧脸谱

京剧脸谱

脸谱是京剧的一种表演手段，脸谱历史很悠久。

脸谱来源于生活：生活上常常形容人的脸色的变化，比如说：吓得煞白，臊得通红，晒得漆黑，生病的人形容脸色蜡黄等等。脸谱就是把这种夸张的说法，再用夸张的手法画在脸上。用来描写人物的正直、刚烈。常常画红脸，比如关羽。奸险狡诈之人如曹操，常画白脸，而铁面无私的包公形象则用黑脸来代表，等等。各种人物的脸谱有一定的规矩，这些在京剧中把脸上勾勒出形象，称之为脸谱。脸谱是京剧的一种表演手段，脸谱历史很悠久。

Facial Design

Chinese opera performers mainly have two methods of makeup: masks and facial painting. The frequent on-stage change of masks, without the audience noticing, is a special technique, known as changing faces. Opera facial painting falls into four main categories -- personality makeup (facial designs, painted faces or Lian Pu), decorative makeup (decorated faces), mood makeup (changing facial designs), and pictographic makeup (animal-like facial designs).

Lian Pu

Personality makeup, or Lian Pu, refers to facial designs for Jing and Chou roles. It originated from daily life experience, describing such changes of expression as white for fear, red for shyness, dark for suntan, and sallow for illness. Most facial designs attach great importance to the eyes and eyebrows. Lian Pu has formed a complete system, such as the facial designs of Peking Opera.

Red, yellow, white, black, purple, green and silver are the main colors used for facial designs to represent different characters. For instance, red stands for loyal, courageous and upright people; white for sinister and cunning officials; and golden and silvery colors for gods and ghosts.

The facial designs for the Jing roles are made by painting, powdering and coloring in the basic forms of Zheng Lian (keeping the basic face pattern), San Kuai Wa Lian (three-section face) and Sui Lian (fragmentary face). These types are widely used to represent generals, officials, heroes, gods and ghosts.

The Chou actors can be recognized by the patch of white in various shapes (cube-, date pit-or bat-shaped) painted around the eyes and nose. Sometimes these patches are outlined in black, hence the term Xiao Hua Lian (partly painted face). The Chou roles fall into the following two categories: Wen Chou (civil) and Wu Chou (martial).