What are the aesthetic requirements of an opera performance?

The aesthetic requirements are as follows:

To convey the spirit in form, both form and spirit

Transforming the inner activities, spiritual temperament, and appearance of the characters in the play into a distinctive external image is the fundamental requirement for the creation of an image for opera performances.

Mei Lanfang, when he went to the Soviet Union for a performance visit in the 1930's, improvised a number of opera sequences in plain clothes in a gathering, which won the admiration of his foreign peers. He won the admiration of his foreign peers. The German dramatist Bertolt Brecht said, "Apart from one or two comedians, is there any actor in the West as fascinating as Mei Lanfang, dressed in his everyday suit, in an ordinary living room crowded with experts and critics, demonstrating his performance in public without make-up or lights?" The reason for obtaining this artistic effect lies in the fact that Mei Lanfang's performing art has completely changed the actor's own demeanor and appearance, and with delicate and rich emotional experience and beautiful and vivid external modeling, she expresses the typical beauty of ancient Chinese women. Excellent opera actors are masters of movement, and they are always able to distill from the complex and varied phenomena of life typical movements that are sufficient to express the character, and use concise and generalized techniques to show the rich connotations of character. Some characters, from the script alone, seems to be no surprise, but once through the hands of opera actors, all alive and well, shape and spirit. Sichuan opera "playing the red stage" in a character called Xiao Fang, when the appearance is still beautiful, like a young man's appearance. One to read the "great man out of the world to Ang Ang weather, soon to be a king of the people on the horse" two lines of poetry, with a folding fan to the hat gently a poke, hat a crooked, a change of face, suddenly appeared to be cross-eyed, flowing, revealing a rogue bully's vicious nature. Excellent opera actors and actresses are masters of expression, they are good at capturing the psychological and emotional activities of the characters in a particular situation, making it into a distinctive, dance-intensive image. Shangdang Opera "Three Guan row feast" "pick up the pass" a, She Taijun and Empress Dowager Xiao a pair of bloodshed in the battlefield of the enemy in the negotiation of the occasion to meet, the former in the capacity of the victor as a diplomatic envoy, even if there is a hatred of the country and family feuds, but hold back, showing the politician's demeanor; the latter because of the loss of the war to ask for peace, very chagrined in the heart but to maintain the dignity of the king of a country. The latter, having lost the war, begged for peace with great remorse but had to maintain the dignity of the king of a country. These complex psychological and emotional conflicts are expressed in the general diplomatic etiquette of "three invitations and three concessions", which is very tightly organized in music and movement. In order to achieve the objective of accurate and vivid expression, sometimes the technique of "taking God from his appearance" is also adopted, whereby the appearance of the characters is deformed. According to the historical truth, Zhou Yu was much older than Kong Ming, and in the period of Northern Opera, Zhou Yu wore the same "three mustache beard" as Kong Ming. However, Zhou Yu on the stage of modern opera no longer wears a beard, but is dressed as a pheasant-tailed boy. This change, not only to the young governor of the majestic hair brought a Yingqi and sharpness, adding the image of brilliance; and with Kong Ming's calm and skillful, generous and forgiving contrast, highlighting Zhou Yu's youthful exuberance, narrow-mindedness, lack of political foresight. This technique of taking God's face from his face portrays Zhou Yu's character traits more accurately and profoundly, and at the same time reveals a little bit of the creator's well-intentioned criticism of the character. Because opera actors are both diligent in observing life and refined, they are often able to accurately and distinctly portray the appearance and charisma of their characters, achieving both the form and the spirit. Many popular opera characters, their thoughts, personalities and emotional activities are almost always visible, audible and felt by the audience.

Good, good, evil, evil, tendency is clear

Opera performance in the image of the creation, not only requires the form of both God, and the creator of the character of the character of the character and moral evaluation, good and evil, beauty and ugliness, love and hate, or derogatory or positive, not a hair's breadth of difference. This kind of praise and criticism, often through the character's movements and gestures, and even make-up and dress and other external modeling and get a clear expression, accurate grasp of the proportion, and a variety of techniques, sometimes straightforward, and sometimes with the pen, in the image processing, showing the creator's moral ideals and aesthetic ideals of the same. Guan Yu on the stage of the opera, red face, green python, long three locks of beard, with heavy colors to accentuate the solemn and majestic momentum; singing high and exciting, tiger with vitality; action is very refreshing, not moving already, at every turn, shocking, sometimes a debut, and even the beads on the helmet brush brush sound. This kind of artistic treatment, highlighting the bravery and majesty of Guan Yu, but also cast the generations of folk artists of Guan Yu's reverence and praise. Some of the characters tend to be optimistic, cheerful and humorous with comedic colors, which is not only a true portrayal of the character, but also shows the creator's aesthetic evaluation, making people feel that the actor is portraying his character with a smile or even a doting attitude. Mu Guiying, Yang Paifeng, Sun Yujiao, Zhang Fei, Li Kui, etc. all belong to this category. Sun Yujiao's performances of roasting and feeding chickens, threading a needle, picking up and dropping bracelets, and other details in Pick Up the Jade Bracelet are not only interesting, but also reveal the creator's love of life and praise for youth. Zhang Fei later became a general of the State of Shu, but his naive and romantic temperament remains unchanged. Zhang Fei's body movements in a number of Dan foot body lines and charm, called "Dan from the net down", in the rough in the charming, is the creator to take a unique approach, which makes the audience feel friendly, lovely. When the creators want to criticize or condemn certain characters, they are also nonchalant and to the point. In the Peking Opera "Chopping the Yellow Robe", Zhao Kuangyin is portrayed as an old man, which seems solemn and dignified. But when the drama plot development to Zhao Kuangyin borrowed wine cover face, Qu chopped once life and death and **** partner Zheng ZiMing after TaoSanChun soldiers under the city, GaoHuaiDe harem defense, so that he had to beg for forgiveness, suddenly spoke out of a slippery JingBai to. Jingbai and rhyme white is just two different forms of reading white, itself does not show the character of the high and low, but in the color but there is a difference between Zhuang and Harmony. From Zhao Kuangyin's mouth, a comparison, but people have a funny feeling. This funny just negate the original solemnity, achieved a spicy satirical effect. Here not only skillfully exposed the character character of the contradictory factors that originally existed, but also expressed the creator of his contempt and condemnation, the characterization of the authenticity of the combination of ideological tendencies. As for the exposure and scourging of the antagonist, it is even sharper. In the opera, there is a line of "white clean", which is a footwear with a big white face, specializing in playing the role of power traitors, eunuchs and eunuchs all the way to the characters. According to the Qing dynasty Li Dou description: play this way of characters, "voice gas bureau, must be extremely winning. Sinking male gas in the laughter and anger, are in the powder light through", which is to show that such characters due to the high power of the identity, style, but also to profoundly expose its treacherous, insidious, vicious, violent nature; Lee Doo also said that acting such characters must be with the two sides of the "into one gas", because The two sides of the "Wen toon near the small side, loyalty and righteousness, such as Zheng Sheng, humble, such as the end of the vice", which facilitates the exposure of its hypocrisy and meanness. This kind of artistic treatment obviously implies the sharpness of the creator's criticism.

Opera is rooted in folklore and is tested by the people in its development and circulation. Thus, it cannot but reflect the people's likes and dislikes. The people's likes and dislikes are distinct, reflected in the treatment of the stage image of the opera is also the likes and dislikes are distinct. The treatment of ambiguity, unclear tendency or objectivism has no place in the people's mind. This is a reflection of the mass and people's nature of opera in the art of performance.

Paying attention to the beauty of form

Opera attaches great importance to the role of art as a "high stage of education", and also attaches great importance to the entertainment function of art. Opera actors are some of the actual practitioners, they have been on the stage for many years to accept the test of the audience, y understand the beauty in the education of the truth, so the opera performances focus on the image portrayal of the distinctive and vivid, but also pay attention to the beauty of the art. Mei Lanfang said: "On the stage is to take care of the conditions of beauty everywhere." Cheng Yanqiu also said: Chinese opera is "an art that gives the audience a sense of beauty". On the stage of opera, not only the beautiful image can give people the enjoyment of beauty, even when expressing the unattractive and even ugly phenomena in life, it also tries its best to avoid arousing people's disgust and stimulation in the sense of view and physiology, and strives to give artistic processing according to the law of beauty. Such as Mei Lanfang's "Drunkenness of the Concubine" performance: a drunken person is actually vomiting, falling over, disgusting and unattractive; drunkenness on the stage, can not be done to make people hate. The emphasis should be on the subtlety of the gestures and the harmony of the songs and dances, so that the audience can get a sense of beauty. The negative image such as "fifteen Guan" Lou A rat, etc., on the depth of its characterization, has a profound critical power; but in the art is refined, in the moral evaluation at the same time, to fully meet the audience's appreciation of the requirements of beauty. The beauty of art is inseparable from the beauty of form, and in this regard, a wealth of experience has been accumulated in opera performance. For example: the requirements of recitation, "although it is not a song, but to be beautiful to listen to" (Wang Gide "Qu Law"), which is about the beauty of the language; singing requirements, "the sound should be rounded, the cavity should be full of the" (Yan Nan Zhian "Singing"), which is about the beauty of the voice; in the body frame, pay attention to the appearance, appearance posture and "stand with the In the body work frame, pay attention to the appearance, appearance of the posture and "standing phase, sitting phase", which is to speak of static beauty; and pay attention to the hand, eye, body, method, step connection and coordination, avoid "hard mountain shelves purlin", which is to speak of dynamic beauty. Sleeve alone on the kung fu, there are hooks, picking, bracing, rushing, dialing, raising, dusting, flinging, hitting, shaking, throwing, scratching and other different dances; beard is flinging, shaking, dusting, ruffling, pushing, supporting, picking, twisting, and other different ways to play; other such as erratic steps, step, step, step, and other kinds of steps and plumes, fans, a variety of skills, etc., not only are all the expression of feelings of a special means, but also in the lines, gestures, and rhythms on the beauty of the people. Since the opera was mainly developed on the stage facing the audience from three sides, it has also formed a tradition: not only should each action take care of the beauty of the form, but also the requirement to take care of the perspective of each audience during the movement of the action, so that the audience in any corner can see the beauty of the line and the beauty of the modeling. As Gai Zhaotian said, "The gesture of a stretching fist and a lifting step should be practiced to become an independent statue that can be sculpted." From this point of view, all kinds of performance programs of opera are actually the crystallization of the creative labor of successive generations of opera performers in accordance with the principle of beauty.

These three interconnected aesthetics not only run through the whole process of image creation, but also coalesce in the performance program. The various characters of Sheng, Dan, Jing, and Chou are a classification system of characterization and performance formulae that have been gradually stabilized and brought together in the long-term artistic practice.

Opera performance refers to the performance of traditional Chinese drama. The connotation of opera includes singing, reading and playing, and synthesizes a variety of performance styles such as dialogue, music, singing, dance, martial arts and acrobatics, which is different from the western opera, dance drama and drama.