The Main Features of Beijing Opera - Essay Example

Institution: Chinese Arts Essay Name: Date: Instructor: Word Count: 2042 words List of Contents Introduction 3 Beijing opera 4 Make up and Costume 4 Singing 8 Recitation 8 Acting 9 Acrobatics 9 Conclusion 10 List of References 11 Question 4 Describe the main features of Beijing Opera and explain why it is popular to general audience Introduction Beijing opera is also referred to as Peking opera. Beijing opera is considered as a traditional Chinese form of auditorium that comprises of music, voiced performance, mimic, dance and gymnastics. The Beijing opera is believed to have begun in the 18th Century and established fully and acknowledged within the mid-19th Century. This form of traditional Chinese theatre was considered widespread within the Qing Dynasty and regarded as major cultural treasures of the Chinese community. The main features of the Beijing opera include colorful costumes that are worn by the performers, the artists form the central point, There is the presence of great utilization of dialogue, melody and dance while the combat actions are usually figurative and evocative. In addition the performers are required to observe a variation of stylistic resolutions that assist the audience in the process of traversing the intrigue of production. The repertoire of Beijing opera is therefore mainly based on the Chinese historical background, folklore and modern-day life. The essay will discuss the main characteristics of the Beijing opera and give explanations of its popularity among the audience. In addition distinct association between the stage actors and the audience in the process of performance will also be discussed (Chengbei, 2012). Beijing opera Peking opera is considered as one of the major forms of Chinese heritage. Within the contemporary society the audiences engage in viewing Peking opera in a concerted form. In the past several acts several performance were conducted in several acts. However in the contemporary society one act performance of the play is generally performed. The play involves the highlight of drama that the audience never gets bored of watching. In terms of stage and props the audience is presented with a wide range of room for imagination. The stage is therefore set in such a way there is some form of interaction between the performer and the audience In addition there is the presence of the symbolism together with the participation of the audience that is necessitated for the purpose of comprehending the functions of varied circumstances (Chen & 1999). As opposed to various types of western operas that are identified according to the composer, Peking opera music is not engaged in its form of masterpiece by any composer. Hence the Peking opera is founded on the established customary of traditional collated tunes. The singing in most cases involves dual sets of tunes. For instance Xipi is a tune that is engaged in the process of expression of enthusiastic mood such as tension and cheerfulness. On the other hand erhuang is a tune that is engaged in the expression of unresponsive disposition for instance loss in profound thought and distress (Chai, 2004). Make up and Costume One of the major astonishing features of Beijing opera involves the use of designs and make up. Within the use of make-up there is abundance in terms of colors and patterns of the makeup and costumes. In this case each role within the performance of the Peking Opera has its own form of significance with the makeup and costume as it gives a description and essential information in regards to the nature of the characters in the performance. The costumes in Peking opera are mainly founded on the Ming Dynasty styles. The facial make in Beijing Opera involves a form of generation of character. It forms an important aspect in role p-laying and creation of character. It therefore involves a distinct form of Chinese form of makeup (Goldstein, 2003). The make is used to exhibit various characteristic features and personalities. In addition the makeup is further used to express the role that is being played by a particular character. For instance a distorted type of face may be used to imply or represent an individual whose face has been damaged through an injury. A red faced type character is regarded as devoted and optimistic whereas the white faced characters are viewed as being threatening and undesirable. The use of make up in categorization of various role types assists the actors and female counterparts in the training process. Therefore the use of makeup enables each character to undergo training in respect of the different roles and other techniques that are important in the performance of Peking opera. Diverse styles together with different forms of traits are recognized for the purposes of drawing the attention of the audience. The different roles and traits among the performer is therefore engaged in the process of drawing attention of the audience while at the same time assisting the audience in the comprehension of the plot in simple terms. This is an important aspect in Peking opera due to the fact that the plot and the performer are engaged with the audience. The audience forms an essential part of the Peking Opera and for that fact the audience must be fully engaged in the performance (Hung & Tsiang 2005). The painted face in Peking Opera is an essential feature. The painted face is regarded as jing attracts some form of attention. The painting is mainly done in form of variety of colors and styles. The different types of styles and painting are used in portraying diverse characters among the performers. The painting colors on the face are considered as an external manifestation of character personality. Hence in relation to the jing characters their emotions are generally worn on their face through the process of painting and utilization of different styles (Wichmann, 1991). Makeup and costume of the Beijing opera For instance a black color indicates truthfulness. The forms of costumes in the Beijing opera are in themselves considered as an art in their own entity. This is due to the fact that the stage for performance is not set but a table and chair that are presented on stage. Therefore the main focus in the theater involves the actors themselves and the costumes. The audience is captivated by the actors and the costumes during the performance. Yellow robes are mainly worn by emperors, lively colors by princes while outlaws wear black colored robes (Mackerras, 1972). Stage of the performance of the Peking opera The table on the stage of the performance can be used for a purpose of a bed or a mountain. A chair on the other hand can be used as a form of a weapon for the actors while displaying different forms of characters. In addition to the use of real objects during performance by actors imaginary objects are also engaged in the process of performance. The shapes of these imaginary objects are recommended by the mimic actions of the actors. The makeup and the costume of the actors in Peking opera is mainly accompanied a head gear that in most cases is adorned by various forms of jewelry. The characters and the role play of the actors determine the type of head gear that the actor is adorned with. Just like the costumes and makeup exhibit role played by the actors the head gear forms an essential aspect of the role played by the actor in relation to their performance (Mackerras, 1972). Female adorned actor playing the role of unmarried woman Singing The art of singing is another important feature of the Peking Opera. The use of vocal music in the performance is different in the sense that each varied role has its own distinct style of singing. For instance in relation to the role of an elderly women there is the utilization of actual voices while in a young woman there is the use of falsetto. In addition a performer can engage in the process of role playing in regards to any role so long as the performer is able to clearly master the singing style of a particular role. Hence in the singing style not every individual is able to master the art of singing while interchanging different types of roles (Chengbei, 2012). Recitation The Peking opera utilizes the feature of recitation in its forms of theatrical approach. The process of recitation in this case implies the art of telling stories. The performer engages in telling a particular historical piece that captivates the audience. Recitation is more involved in telling a story whereas singing displays several types of emotions to the audience. In the recitation approach the performer recites in changbai that is considered as a distinct speaking approach that is regarded as different from the normal ever day speaking. This art therefore involves the play of the performer’s voice in order to create a non-realistic kind of voice. The actor in the process of recitation dampens his voice while at the same time stretch particular syllables for the purpose of creating a precise kind of rhythm (Zhao, 1999). Acting Acting is also another important feature of the Peking opera of Beijing opera. The acting within the Peking opera has sufficient satirist abilities. The performer therefore has to engage the audience with no enhancement from the stage design. In this case the performer to engage the audience in the description of a particular type of situation and the environmental setting with the use of signals and gestures. The gesture that is presented by the performer needs to be understood easily by the audience so that the audience is fully involved in the acting process. For instance the appearance of a source of light on stage indicates that there is the presence of darkness. In this case the audience comprehends that the occurrence of the scene on stage is during the night as opposed to not using the light that the audience will comprehend the time of the occurrence of the scene during the day. Other forms of gestures that might be used by the performer on stage involves opening of an imaginary door. The audience fully comprehends the gesture used in the opening of the door. The performer therefore needs to fully engage the audience in relation to the gestures and their respective meanings. The performer is therefore required to fully connect with the audience in the use of various types of gestures and signs on stage (Lu, 2004). Acrobatics Acrobatics is considered as another feature of Peking Opera. This feature is treasured by westerners. The acrobatics are mainly performed in form of paramilitary arts. Hence the audience main form of interest is recognized through the process of reckoning amongst dual unpleasant opponents. An excellent acrobatic performer has to master the art of combat through the procedure of rough form of challenging. Performers in acrobatic styles are therefore trained in such a way that they are able to learn different types of combat skills (Halson,1966). The Peking opera performance is an art that requires a lot of learning and training among the actors. In the past schools concentrated more on learning of Peking Opera techniques and the discipline aspect of the learners was neglected. In the contemporary society the education system is well rounded and involves training in Peking opera as well as the disciple feature of the students (Guy, 2001). Conclusion Beijing opera has exhibited a powerful motivation to the theatre and cinema world. This is because the Peking opera is full of artistic expression and the actors display various skills and styles in the presentations of various forms of approaches. The actors are therefore able to tell a story in a captivating manner that draws the attention of the audience while at the same time engaging the audience in the stage performance. The main features of the Peking opera include the art of singing whereby different actors engage in different styles of singing for varied types of roles. The feature of makeup and costumes involves another dominant feature in the Peking Opera that is engaged in the process of differentiating between different roles and traits of particular actors. The feature is used to engage the audience and draws that attention of the audience during performance. The audience is an important aspect in the performance and therefore the actors should create some form of relation between the performance and the audience. Other features of the Peking opera include acting, recitation and acrobatics which are regarded as important features of the performance. List of References Guy, N.,2001, "Brokering Glory for the Chinese Nation: Peking Opera's 1930 American Tour". Comparative Drama 35. Lu, X., 2004, Rhetoric of the Chinese Cultural Revolution. University of South California Press. pp. 143–150. Halson, E.,1966, Peking Opera: A Short Guide. Hong Kong: Oxford University Press. p. 8. Chengbei X., 2012, Peking Opera. Cambridge University Press. p. 15. Zhao, S. H.,1999, Zhong guo jing ju fu shi [The costume collection of Peking Opera]. Beijing: Wu Zhou Press. Wichmann, E., 1991, Listening to theater: The aural dimension of Beijing opera. Honolulu: University of Hawaii Press. Mackerras, C.,1972, The rise of the Peking Opera, 1770-1870:Social aspects of the theater in Manchu China. Oxford: Clarendon Press. Hung, W. & Tsiang, K., 2005, Body and face in Chinese visual culture. Harvard University Asia Center. Goldstein, J., 2003, From teahouse to playhouse: theaters as social texts in early-twentieth-century. The Journal of Asian Studies, 62, 753-779. Chai, W. J., 2004, Jing ju da xi kao [The complete compilation of Peking Opera’s scripts and lyrics].Shanghai: Xue Lin Press. Chen, D., & Ye, C.,1999, Peking Opera. Shanghai: Shanghai Gu Ji Press. Read More