Beijing Opera - ¾©¾ç

History

1790 - four local troupes come from Anhui to Beijing, to give performances at the Qing Court

1828 - started performing together with troupes from Hubei for the Qing Court

Influenced by Beijing Dialect, drawn from each others styles, local operas, especially singing

Developed distinctive features then became Beijing Opera - ¾©¾ç

Until mid 20's-30's women were not allowed to perform together on stage so men filled all the woman roles

During the Cultural Revolution (1966-1976) it suffered in its traditional forms but was adopted to modern theme plays - Eight Modern Plays: Anti-Japan War, War against the Nationalists

After it has started to make a revival but because the young people did not grow up watching it so it is not as popular with them, more for the older generation

Components

Storytelling

Adapted from both mythology and historical stories as well as novels and other famous events

Simplicity of stage and props according to traditional conventions - time dealt with freely

- table: desk, bed, elevation device

- chairs: position of chair makes difference between use

- mountain rock (cloth covered frame): hilly country, mountain pass

- water flags carried by four actors: river or flood ; wind flags

- horse whip: riding a horse

- oar: in a boat

- duster: as a symbol of greatest refinement

- circle the stage: taking a long journey

Structure of scenes - either one scene or a few connected scenes: Zhe Zi Xi -

Full length plays: Da Xi

Uses jing ju hua ¾©¾ç»°: beautified form of Beijing hua ±±¾©»°.

Music

Orchestra provides accompaniment to the singing as well as keeps rhythm during certain movements and for effect at pivotal moments

Instruments of orchestra:

- clappers ban °å: made of bamboo main percussion instrument

- small drum and big drum for effect during battle, also cymbals, gong

- jing hu ¾©ºú/er hu ¶þºú: two stringed bow instrument, main accompaniment to singing

- moon mandolin yue qin ÔÂÇÙ/four-stringed lute pi pa ÅýÅÃ: used to support the jinghu

- flute di zi µÑ×Ó: also sometimes accompanies singing

- reed organ : only harmonic voice though not very loud

- Chinese clarinet: usually used as a solo instrument

Singing ~ Aria

- express the characters emotions and tell the story

- lines formed in couplets: usually 7 characters per line, must end with rhyme

- first line ends with oblique rhymes, second line ends with even tone

- emphasis on being smooth and easy to understand

Characters: Types of Roles

Sheng Éú: Males Roles

Wen Sheng ÎÄÉú - Civilian roles

Lao sheng ÀÏÉú: middle age to older men, wear beards and faces are not painted. Proficient in acting and singing - usually plays the roles of court official, scholar, men of gentility

Xiao sheng СÉú: young men, does not wear beards. Sings in high pitched voice to denote youngness. Refined and cultured.

Wu Sheng ÎäÉú: Military roles - warrior/swordsman. Proficient in martial skills/acrobatics.

Dan µ©: Female Roles

Qing yi ÇéÒâ: young or middle aged woman. Concentration on singing, moving being more reserved in nature.

Hua dan »¨µ©: vivacious maiden, lively, sometimes of questionable character. Emphasis on acting and charming appearance of movements.

Cai dan ²Êµ©: lively like hua dan but more comical and detestable - mischievous.

Wu dan Î䵩: strong, vibrant character. Proficient in martial skills/acrobatics, plays roles of warrior/swordsman, fairy maiden with magical powers.

Lao dan Àϵ©: elderly woman, motherly, might walk with a cane. Proficient in acting and singing, sings in natural voice.

Jing ¾¯: Painted Face hua lian »¨Á³ - gives vivid expression of the characters main feature

Zheng jing Õý¾¯: usually cast as a positive role - prince, marshall, or court minister. Stress is on singing supplemented by music.

Fu jing ¸º¾¯: usually cast as a negative character - treacherous court officials, betrayer. Spoken parts are most used.

Wu jing Î侯: emphasis on martial skills/acrobatics. Deities are often played as this character.

Chou ³ó: Clown - easily recognizable by the white paint on the middle of their face

Wen chou Îijó: mainly performed through singing and acting parts. Spoken is divided between rhyme parts and Beijing Dialect part. Represent magistrates, boatmen.

Wu chou Îä³ó: warrior clown, again martial skills/acrobatics, but even further then the other wu parts, being able to turn somersaults, ever move very clearly enunciated.

Costumes

Most of the costumes consist of robe type garments with long inner sleeves which are used in acting for added effect: using it to talk aside behind or extended when angry

Armor is the other principle costume worn by warriors or deities in battle

Several kinds of helmets, crowns, and hats - plumes are usually worn by distinguished figures or those with special powers - crowns ornately decorated for those who are noble or powerful

Beards are also employed as characteristic devices, holding and stroking the beard being very ornamental

Shoes with platforms for elevation of dignitaries and other important characters.

Movement

Very precise posture and movement used to express the characters feelings while also always being attractive to the eye. Even walking has a specific movement developed for it, everything has a proper form.

Hands take a special role: males holding the fingers street thumb out, while women curve fingers in slightly with the index finger straight. Also forming a fist has specific form.

Body posture should be straight chest out, shoulders flat.

Eyes and facial expressions are also very important revealing feelings not revealed in speech.

Play - The Crossroads San Cha Kou Èý²í¿Ú

Jiao Zan, a general, is unjustly convicted and exiled. His commanding officer thinks he is innocent so he send Ren Tanghui, a expert swordsman, to follow and protect him.

Jiao Zan goes to an inn and the crossroads, the owner is Liu Lihua. He takes a liking to Jiao Zan and hears some of his companions plotting to kill him so he vows to protect him.

Ren then comes to the inn on his mission to protect Jiao and both Liu and Ren think the other is trying to harm Jiao.

Liu sneaks into Ren's room at night and a fight in the dark ensues, not until Liu's wife comes in with a candle does everyone realize who ever one is and everything is explained.

The misunderstanding is then cleared up.