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Four theater companies from Anhui arrived in Beijing, and their fresh styles of music and theater electrified the capital and eventually came to replace the Kunqu Opera style that had been pre- eminent in the capital for the past two hundred years. Characteristics from other forms of opera, such as Hopeh, Wuhan, and Shansi, were incorporated into the Anhui style.
After a while this form of opera became known as Ching Hsi, or 'Capital Play.' Ching Hsi is what we know today as Peking Opera. Because of its long history, Peking Opera encompasses a wide variety of drama, and a wide variety of styles of acting. It emphasizes historical and military plays and can be quite patriotic, and so quite popular. But it is not the only style of opera still extant in China - - many regional Opera styles still exist. A sound film is a motion picture with synchronized sound, or sound technologically coupled to image, as opposed to a silent film. The first known public exhibition of. SILENT ERA RELATED ON HOME VIDEO: Ah Gee, Forgetting Me. Nell Shipman (2006) American Experience: Mary Pickford (2005) Baby Peggy: The Elephant in the Room (2012). Four theater companies from Anhui arrived in Beijing, and their fresh styles of music and theater electrified the capital and eventually came to replace the Kunqu. Some references list more than 3. China. Among those still popular are Cantonese Opera, Hebei Clapper Opera, and Yue Opera. Although there are many different regional styles, they all share many similarities. Each have the same four role types: the female, the male, the painted- face, and the clown. Performances consist of singing, poetry, music, dance, and gesture. Emphasis is on costume and makeup rather than props or scenery. The operas often tell the same stories, though with various regional differences, such as alternate endings or additional characters. The information described within this article will, unless otherwise noted, pertain to Peking Opera specifically, and the regional operas more generally. Toward the end of the Qing dynasty, tea- houses began to double as theaters. Originally, the acting troupes used the tea houses as a place to rehearse plays, since their homes were too small. Business in the tea- houses carried on as before, except the patrons could enjoy the performance during their drinks and conversations. After a time, patrons began frequenting tea houses specifically to see the theater, and in some of these establishments the character for 'tea' was dropped from their name. The acting troupes earned their livelihood through performances for the court, though, and not through public performance. At first, actors had to bribe the eunuchs to ensure that word did not get out that they were performing publicly, because the court frowned on such activity. But performance in public tea houses over time became the common and accepted practice. Chinese opera has many strong female roles, though for most of its history, no females to play them. Women in China, especially of the upper class, had to observe very reserved and controlled conduct, and for the most part confined themselves indoors. A woman who paraded herself on stage would be considered no better than a prostitute. Instead, men would play the female roles. At certain times in opera history, these female impersonators were the greatest stars of the stage. Their peak in popularity occured in the 2. Mei Lanfang, whose performances both at home and abroad in Japan, the Soviet Union, and the United States, influenced such famous dramatists as Berthold Brecht and Stanislavsky. He also met with and performed for famous actors such as Charlie Chaplin and Mary Pickford. In addition to his mastery of over 1. Peking Opera by making significant changes to the costumes, staging, make- up, and texts, in effect creating a number of new plays, including his most famous, Farewell My Concubine. Beginning in the 1. This led to the gradual disappearance of the female impersonator role, so that now, women almost always play the female roles, even though the mannerisms, vocalisms, and styles of the role were developed when meant to be played by men. Chinese opera survived the passing of the centuries, the coming and going of dynasties. It survived the end of the Qing dynasty and the warlord era. It survived the Japanese occupation of Shanghai, but not without some famous actors performing for the Japanese and so becoming blacklisted later, their careers destroyed. It even survived the communist revolution - - almost. Jiang Qing, chairman Mao's wife and a former film actress, denounced the traditional opera for not serving the needs of the masses. No traditional opera was allowed to be performed. Instead, the party promoted what it called the "eight model plays," which featured the common workers, in plain modern dress and naturalistic sets, promoting communism. When the infamous Gang of Four finally fell from power, traditional opera was restored, though it had lost much of its audience. Many opera schools, facing decreasing returns, were forced to close, and the opera stars entered film, to act and do stunt work. But even today, traditional opera has a place in modern China, Taiwan, and Hong Kong. It tells the stories common to all the Chinese people: the legend of the Monkey King, the epic tales from The Water Margin and Romance of the Three Kingdoms, the countless fairy tales and ghost stories. These timeless tales still resonate today, and ensure that the traditional opera will continue to have its place in modern life. The Four Opera Character Types. In the Chinese Opera, there are generally four main categories of roles: sheng (the male roles), dan (the female roles), jing (the painted face roles), and chou (clowns). Each category is further subdivided into distinct types. An actor typically trains for a single type of role within one category. Actors who can play multiple types of roles within a single category are considered especially talented. An actor almost never plays roles outside his or her category. Sheng: There are three main male roles that an actor trains for. The first is Lao Sheng, a middle- aged or old man. The Lao Sheng are dignified and refined. They may be high level scholors or officials, and wear a black hat with fins on either side to denote rank, or a general in a military play, wearing armour. In either case the Lao Sheng wears a beard (black or grey, depending on age). The second type of role is Hsiao Sheng, or young man. The Hsiao Sheng sings in a warbling voice to indicate adolescence, and does not wear a beard. The third type of role is Wu Sheng, or acrobat, who performs much of the most exciting elements of Chinese Opera. A special Wu Sheng role is that of the Monkey King, featured in a number of operas based on the famous story A Journey to the West. Dan: There are twice as many female role types as there are male. They are divided according to character, status, and age. Lao Dan is the old woman role. The costume is subdued, no make- up is worn, and the singing voice is natural and therefore lower than that for the other Dan roles. The Wu Dan is the female acrobat, and is equivalent to the Wu Sheng role for the men. A Qing Yi actress is the noblewoman, of good quality and character. She is the model or ideal of the Chinese woman. Faithful, proper, shy, graceful. The Hua Dan, however, is of a lower social status than the Qing Yi, and represents a more feisty, flirtatious young woman. A young woman from a wealthy family, set apart from the world in the family mansion, is called the Gui Men Dan. This character is still young, and will one day grow up to become either a Qing Yi or a Hua Dan. Finally, there is the Dao Ma Dan, or warrior woman. This character typically wears full armour and great peacock feathers in her hat. The famed military heroines of China are all played as Dao Ma Dan. The story of Peking Opera Blues, featuring three extraordinary women heroes, is actually titled 'Dao Ma Dan' in Chinese. Jing: The Painted Face role is the most recognizable part of Chinese Opera. This part is reserved for high- ranking army generals or bandits, warriors or officials. All Jing characters have their faces painted elaborately, the colors on the face indicating the personality and temperment of the character. A white face means treachery, black means uprightness, red indicates courage and virtue, blue denotes cruelty or wild temperment. A mix of multiple colors indicates a more complicated personality. Chou: The clown is the only role that can break the 'fourth wall,' so to speak, and reference current or local events and speak in colloquialisms. Male clowns are easily recognizable because they all wear a distinctive white patch of make- up around the nose and eyes. This same make- up is sometimes used for mean- spirited villains as well. Female clowns do not have the white make- up patch but instead have a reddened face with black eyebrows. Costumes and Props. On the Chinese Opera stage, scenery and props are sparse. Often, only a table and chairs are set on the stage and to signify various thrones, mountains, and so on throughout the story. A character committing suicide by jumping down a well may in performance simply be stepping off a chair and walking off stage. In Chinese Opera, it is the actor that must convey the story, through voice, movement, and gestures. Each character, furthermore, wears a distinctive and traditional costume and makeup which cues the audience about their status, and sometimes, about their personality. Armour: The armour, or K'ao is worn by high military officials. It is a very stiff costume, with brilliant colors and often a design such as a tiger's head or dragon across the front. A fully armoured actor wears four pennants on their back. Without the pennants, the actor is only partially armoured. The Jing (Painted Face) role often wears armour, and it is also seen on Wu Sheng (Male acrobat) and Dao Ma Dan (Female Warrior) actors. Hats: There are many different kinds of hats worn in Chinese Opera, in general, these do not stand out from the costume as a whole but rather compliment it. Sheng actors who are portraying scholars or officials will often wear a simple black crepe hat with two fins coming out from the sides. |
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