How many kinds of facial expressions are there in China traditional operas? What does it stand for

Purple facial makeup is a common purple face painted for upright and dignified figures in Beijing Opera. Such as Zhuan Xu in Fishbone Sword and Xu Zhaoyan in Second Palace. These people are more straightforward and have similarities with those with black faces. But it is impolite to use black. Purple has a meaning between black and red. Some characters are described as purple faces in novels, so they also use purple faces, such as Wei Yan, Putian Carving and Fei Degong. Pang Tong's purple face in Chai Sang's mouth shows that he is ugly.

White face (also known as oily white face) has several uses: first, it is an old hero and general used for children's eyes, such as Bao Ci 'an in Sijie Village and Geng Yan in Kunyang; One is related to wiping faces, and traitors and fierce soldiers often use white faces, such as yangfu in Jizhou War and Gordon in Sunny House. The other is similar to the former, but headstrong, such as Ma Su in Lost Street Pavilion and Huang Xu in Yangpingguan. Eunuchs use white faces to express their treachery, such as Yili in Huang Jintai. Some monks, with strong bodies and high martial arts skills, also use white faces, such as Lu in the Wild Pig Forest and Yang Yande in Wutai Mountain.

Black face: In Peking Opera, martial artists are the main facial makeup, and there are more people in China who wipe their faces. Bao Zheng is one of the most famous facial sculpture figures. Bao Zheng used a bad face because of the legendary bad face, which was extended to be impartial. Bao Zheng has a crescent pattern on his forehead. Generally speaking, he can solve cases in the underworld. Generally, people who use bad faces are ugly and fierce. From Zhang Fei, who is intelligent and fierce, to Su in Sangmen, it can be said that black face is the most brilliant facial makeup in Peking Opera, which is a combination of full face, broken face and three tiles.

Gold and silver faces and mottled faces indicate that the fairy face is cash light and the ghost face is green teeth. Don't be surprised by the demon's facial makeup, it should be close to people's faces. Some generals, in order to show their bravery and invincibility, can use gold to show their facial makeup, such as Li Yuanba in Siping Mountain and Jin Wu in Yue Opera. Broadly speaking, variegated face is a complex facial makeup derived from black face.

The yellow-faced woman shows the bravery and ferocity of the characters; The blue face shows the character's strength and sinister; The green face shows the ferocity and bravery of the characters. In Beijing opera, this color of facial makeup is generally not used by the main characters, but it also has its own special spectrum.

Second, the color example

Red is general: brave and chivalrous, mostly positive.

Others: satire, which means false good people.

Special case: the old man shows that the young red light is still there; Bad guys do good things.

Black in general: straightforward and resolute, brave and intelligent.

Others: indicates yin in yin and yang. Used of ghosts. Black skin or ugly face.

General Bai: sinister and treacherous; Willful.

Others: He Ga, eunuch mask; It means that the old man is old.

Purple is general: upright and upright, not flattering the powerful.

Others: bad complexion, ugly.

Yellow is brave and irritable.

General Jin: The immortal is superior.

Others: brave soldiers.

Silver fairy, monster.

Green overall: brave and reckless.

Others: outlaws.

Blue shows strong, brave and calculating people, such as Dou Erdun.

Third, the appreciation of typical facial makeup.

The Monkey King (monkey face), the character in "Making Heaven". With a golden eye, you can change seventy-two changes. Because of stealing Xiantao and disturbing Heaven, the Jade Emperor sent heavenly soldiers to capture it, but failed. Later, it was crushed by the Tathagata at the foot of Wuxing Mountain. See the fifth journey to the west for the story. The Monkey King is a monkey, naughty and witty, so he uses monkey face. Golden eyes, golden or yellow eyes. There are beads on his forehead.

Zhao Tianjun (six points with black face) is one of the four heavenly kings. Taoist immortals. God will catch the Monkey King with all the heavenly soldiers. Because he is a god of wealth and a god of fire, he has money lines on his cheeks and fire lines on his forehead. Tang Yin has double god's eyes.

Wen Tianjun (green-faced) is one of the four heavenly kings who make trouble in Heaven. Taoist general, subordinate to Emperor Dongyue, the God of Mount Tai. The essence of skyfire can eliminate epidemic disasters for the people. So the forehead is hooked. The face spreads its wings in the shape of a butterfly, showing the western god.

Liu Tianjun (with a red face and three tiles) is one of the four heavenly kings. Taoist immortals. Being good at five thunder palms can call the shots. Three red tiles show loyalty and courage, and the shapes of thunder and fire are hooked on their foreheads.

Ma Tianjun (with white flowers and three tile faces) is one of the four heavenly kings in Noisy Heaven. Also known as "Marshal Lingguan Horse" and "Horse Master", Taoist gods will. Folks also call him the essence of fire, the star of fire, the day of fire, and also called "the three eyes of the horse king", so the shape and eyes of fire are outlined on his forehead.

The god Li Tianwang (with a red tip and a three-tile fairy face) in Noisy Heaven is named Li Jing, the king of Tota. Holding a sword in one hand and a tower in the other, the tower can kill demons. On the orders of the Jade Emperor, he led the heavenly soldiers to capture the Monkey King. Red shows its loyalty and courage. There are moire patterns between the eyebrows and eyes, indicating that they are heavenly generals. There is a halberd painted on his forehead, which is a heavy weapon. "Ji" and "auspicious" are homophonic, which means "auspicious" as a pun.

The giant spirit god (the face of a black-flowered ingot) is the pioneer officer of Li Tianwang in the heavenly palace. Fight Wukong with a giant axe and flee. It is famous for its fierce and weird appearance. Therefore, the face is black with fangs, and the forehead is painted with compassion, Buddha statues and beads.

The Big Dipper (purple with three tiles) is the star in the Heavenly Palace. The Monkey King made a scene at the flat peach party, stealing nectar and nectar. The Jade Emperor was furious and sent heavenly soldiers such as Li Tianwang, Twenty-eight Stars, East and West Stars, North and South Er Shen to fetch the Monkey King. Purple three-tile face indicates stability, sophistication and courage. The forehead is decorated in the shape of the big dipper, indicating identity.

The highest plough (blue fairy face) is the star in Tianguan and Huihui (that is, disturbing the heavenly palace). The highest plough (gāng) is the handle of the Big Dipper. The blue color on its face represents the blue sky. Draw three faces of the compassionate Buddha on your forehead. Fangs show their ferocity.

Qinglong (blue pictographic face) is a constellation in the Heavenly Palace, and Wu Shen is in the east. Together with the gods, he captured the Monkey King. Folks call Qinglong (East), Suzaku (South), Xuanwu (North) and Baihu (West) the gods of the Quartet. The face is in the shape of a faucet. The eyebrows are dragon horns and the nose is hooked with a dragon beard. Draw fire on your forehead.

The white tiger (with a white pictographic face), the star in the Heavenly Palace, is the Wu Shen in the west. Together with the gods, he captured the Monkey King. Folk call the White Tiger (West), Suzaku (South), Xuanwu (North) and Qinglong (East) the four gods. White tiger is evil, evil. The word "king" is painted on his forehead, indicating that he is the king of beasts. Nose turns, beard and teeth turn.

Dapeng (golden elephant face) is the third monster in Lion Tuoling. It turned out to be a bird around the Tathagata, named Dapeng Golden Wing Carving. There is a kind of treasure called "two cylinders of yin and yang", which can suck people into the body and turn them into mud in three minutes. The Monkey King was sucked into the bottle, but he broke through and escaped. Later, Dapeng was broken by Tathagata's finger and could not fly, so he had to convert to Buddhism. See The Journey to the West back to seventy-seven. Its face is hooked with a bird's mouth, and its mouth is decorated with flying wings. Beads on the forehead are the phase of Buddhism.

Dian Wei (yellow, three-tile face), a character in The Battle of Wancheng, is a valiant soldier under Cao Cao. Cao Cao conquered the Central Plains, and Dian Wei led the troops to fight Wancheng. Zhang Xiu, the garrison commander of Wancheng, was afraid of Dian Wei's courage, stole the double halberd and attacked Cao Ying at night. Dian Wei died and Cao Jun was defeated. Dian Wei is a brave general, so he used a yellow color and three tiles to show his ferocity. The double halberd on the forehead indicates the weapon used.

The character Cao Cao (white face) in The Battle of Wancheng. With the courage of General Dian Wei and Chu Xu, Cao Cao defeated Zhang Xiu, commander of Wancheng garrison. After occupying the city, he took Zhang Xiu's aunt, and Zhang Xiu was humiliated. So he used a trick, invited Dian Wei to drink in the camp, got drunk and sent him home, took the opportunity to steal Dian Wei's weapons and armor, and then attacked Cao Cao. When Dian Wei died, Cao Cao fled in haste. This is the face of Cao Cao painted by Mr. Hou. It is very meticulous, and the thin arch eyebrows and many lines between them show that it is full of treachery. The whole spectrum gives the impression that it is treacherous and suspicious without losing its heroic qualities.

Chu Xu (Blackfaced), a character in The Battle of Wancheng, is a valiant soldier under Cao Cao's account, fighting with Dian Wei in Wancheng. Its mask is hooked with a black flower face to show its powerful appearance.

Zhang He (Sanwazi) is a figure in Dingjun Mountain. Cao Cao's general. Zhang Hegong attacked Jia Mengguan. After being defeated by veteran Huang Zhong and Huang Zhong, he retreated to Dingjun Mountain and went to the summer. Purple three-tile faces show their loyalty and courage.

Xia (cross frontispiece), a figure in Dingjun Mountain, is a general under Cao Cao. Zhang He tackled the problem unfavorably, defeated Dingjun Mountain and defected to the summer. Huang Zhong and others were ordered to pursue, deliberately shot Xia's nephew, angered Xia, and took the opportunity to chop him to death with a knife. There was a black hole in Xia with a broken face, but Mr. Qian thought that the broken face would damage the general's prestige, so he created this formula. Tian Tong's tattoo is marked with the word "longevity", which makes the bridge of the nose protrude and makes the characters more magnificent.

Xia Houdun (Blue Sanwa Face), a figure in Dingjun Mountain, is the ministry of Cao Cao. The three blue tiles show their bravery and tenacity.

Cao Hong (red-faced), a figure in the battle of Tongguan, was a general under Cao Cao's account.

Zhang Fei (black cross butterfly face) is a character in Han Jin's mouth. Became sworn with Liu Bei and Guan Yu in Taoyuan, ranking third. Its facial makeup is hooked into a black cross butterfly face, showing a "smiling face" shape, with leopard head and eyes at the same time, showing its bravery.

Guan Yu (red face), a single-knife figure. Became sworn with Liu Bei and Zhang Fei in Taoyuan, ranking second. Its facial makeup is rubbing a red face to show loyalty and courage, and the saying that "red face is loyal and brave" comes from Guan Yu's facial makeup. Goudanfeng eyes, delicate eyes, Confucian demeanor.

Jiang Wei (red three-tile face) is an iron dragon figure. This story is taken from Romance of the Three Kingdoms. Jiang Wei led the Shu army to attack the Central Plains and trapped Wei Sima in Tielong. Master Chen's deviant behavior led to the falling out between Qiang Wang and Jiang Wei, and the Qiang soldiers helped Wei attack Shu instead. Jiang Wei was caught between Scylla and Charybdis and lost the war. Four hundred thousand troops saved only seven people and came back on five horses. His face is red, with three tiles, indicating loyalty and courage. The taiji diagram on his forehead shows that he is familiar with astronomy and geography.

Zhou Cang (the face of the gray tile ingot) is a figure in Huarong Road. Zhou Cang is Guan Yu's confidant. Shouting at Huarong Road scared Cao Cao out of his wits.

Wei Yan (Purple Cross) is a character in The Battle of Changsha. Guan Yu attacked Changsha, and Liu Biao's veteran Huang Zhong was defeated in the battle. Han Xuan, the satrap, wanted to attack Huang Zhong. General Wei Yan returned with grain, killed Han Xuan, saved Huang Zhong, and gave Changsha to Guan Yu and Liu Bei.

Huang Gai (six faces in red) is a character in Hero. He and Zhou Yu were bitter, and Zhou Yu was angry at the hero party, surrendering to Cao Cao with a fake and setting the ship on fire. Battle of Red Cliffs has made outstanding achievements. The red face is divided into six parts, showing its loyalty and courage.

Sima Shuai (red cross frontispiece), a figure in Tielongshan, the son of Sima Yi, a general of Wei, was surrounded by Jiang Wei, and the water was unbearable, so he worshipped the spring to get water. Wei saved Chen Tai and Sima Shi fled.

Masu (oil white three tiles) is a figure in the lost street pavilion. Zhuge Liang joined the army under his account. He was stubborn by nature and did not listen to Wang Ping, the lieutenant. As a result, he lost the street pavilion in the military area command. Zhuge Liang beheaded him in tears for military discipline.

Jiang Gan (Wen Chou's face), a character in Heroes, is Cao Cao's counselor. Because of his friendship with Zhou Yu, the governor of Wu, Cao Cao ordered him to go to Soochow to inquire. I tried to persuade Zhou Yu to surrender, but I fell into Zhou Yu's trap and stole a fake letter and went back to Cao Ying. Cao Cao was tricked into killing Cai Mao and Zhang Yun, commander-in-chief of the water army.

Lian Po (with a pink face) is a character in Meet the Prime Minister. This story is taken from the history of the Eastern Zhou Dynasty. Lian Po, the general of the State of Zhao, was proud of himself and didn't want to live under Lin Xiangru, the minister, to create discord. Later, I learned that Lin Xiangru had endured humiliation for his country and felt deeply ashamed and regretful. He personally apologized to the Prime Minister. Pink Facebook represents a brave veteran who is old and frail.

Jing Ke (Sanwa Face) is a character in Biography of Jing Ke, and the story comes from Biography of Eastern Zhou Dynasty. Jing Ke was an assassin of Yan at the end of the Warring States Period. Yan Taizi Dan sent him to Thailand to assassinate Qin Shihuang, but the assassination failed and he was killed. A sharp dagger was drawn in the middle of his forehead to show his identity as an assassin.

Xiang Yu (faceless steel fork) is a character in Farewell My Concubine. Chu and Han contended, and Xiang Yu, the king of Chu, was besieged on all sides, lamenting that the tide was gone. Princess Yuji committed suicide after dancing a sword for Xiang Yu. Xiang Yu was heartbroken and broke through the Wujiang River. He was ashamed to see his elders in Jiangdong and committed suicide in Jiangdong. His facial makeup not only has a crying face, but also shows extraordinary strength and temperament, vividly depicting the expression of this desperate hero. Double eyebrows are longevity eyebrows.

Dan Xiong Xin (Blue Flower Face) is a character in Lock Five Dragons. This story is taken from The Legend of Tang Dynasty. At the beginning of the Tang Dynasty, King Zheng was captured by Weichi Gong, a general of the Tang Dynasty. Li Shimin tried to persuade him to surrender, but he refused to obey, so he was tied to the giving ceremony. Before his execution, Wagangzhai became sworn brothers and Cheng, and Dan, who had entered the Tang Dynasty, offered sacrifices to the afterlife, denounced the generals and made up his mind to die.

Cheng (green flower face) is a figure in Jiajialou. The story is taken from "Tell the Tang Dynasty". Dan invited Jianghu heroes to come to Lu to celebrate his mother's birthday and worship at Jiajialou. At this point, Cheng was arrested for robbing the Emperor Bar, and became sworn brothers with Jia Jialou, robbing the prison and resisting Lu. Cheng is now described as a green face, so he is marked as a green face in the play.

Li Yuanba (black pictographic bird face) is a Chinese character of Siping Mountain. Tang Wang's son Li Yuan, brave and invincible, was the first hero in Sui and Tang Dynasties. The story is taken from "Tell the Tang Dynasty". Yang Di was blocked by Siping Mountain and asked Li Yuanba to save him. Tang Gaozu was afraid that the benefactor Qin Qiong and the generals in Hugang Village would be hurt by the powerful Li Yuanba. He secretly sent the generals in Wagang village to plant yellow flags as a sign for Yuanba to avoid. Qin Qiong and others followed the plan, but only Pei Yuanqing thought he was brave and didn't follow it. Fighting with Yuan Ba, he was killed by two hammers. Li Yuanba's facial makeup is covered with black and gold eyebrows, bird's eyes, bird's beak and bird's wing patterns, and the overall appearance is bird-shaped. China opera is mainly composed of folk songs and dances, rap and burlesque. It originated from primitive song and dance and is a comprehensive stage art form with a long history. From the Han and Tang Dynasties to the Song and Jin Dynasties, a relatively complete opera art was formed, consisting of literature, music, dance, fine arts, martial arts, acrobatics and performing arts, with about 360 kinds. It is characterized by the collection of various art forms in a standard, which embodies their respective personalities in the same nature. The famous operas are: Beijing Opera, Kunqu Opera, Yue Opera, Henan Opera, Guangdong Opera, Sichuan Opera, Qin Opera, Pingju Opera, Shanxi Opera, Han Opera, Hebei Bangzi, xiang opera, Huangmei Opera and Hunan Ancient Painting Opera.

catalogue

Chinese opera

Development period 1, germination

2. Prosperity

Step 3 extend

4. heyday

Golden times 1, Yuan Zaju

2. Ming Dynasty drama

3. Drama in Qing Dynasty

major feature

Artistic appearance 1, performing stories with songs and dances

Step 2 stay away from life.

3. The space-time form of separation

4. Virtual technology

First, it originated from primitive songs and dances.

Second, the art of rap

Third, end the fruits of drama.

Role line 1, main type

2. Business and Role Creation

Classification of traditional Chinese opera facial makeup

Local opera music

Complete Drama: China Opera

Development period 1, germination

2. Prosperity

Step 3 extend

4. heyday

Golden times 1, Yuan Zaju

2. Ming Dynasty drama

3. Drama in Qing Dynasty

major feature

Artistic appearance 1, performing stories with songs and dances

Step 2 stay away from life.

3. The space-time form of separation

4. Virtual technology

First, it originated from primitive songs and dances.

Second, the art of rap

Third, end the fruits of drama.

Role line 1, main type

2. Business and Role Creation

Classification of traditional Chinese opera facial makeup

The Complete Works of China Opera, Music and Drama was released in Zhu Shuizhao, Yin Guifang.

Edit this China opera.

China opera is mainly composed of three different artistic forms: folk song and dance, rap and burlesque. It originated from primitive song and dance and is a comprehensive stage art form with a long history. It was not until the Han, Tang and Song Dynasties that a relatively complete opera art was formed, consisting of literature, music, dance, fine arts, martial arts, acrobatics and performing arts, with about 360 kinds. It is characterized by the collection of various art forms in a standard, which embodies their respective personalities in the same nature. Famous operas include: Beijing Opera, Kunqu Opera, Yue Opera, Henan Opera, Guangdong Opera, Huai Opera, Sichuan Opera, Qin Opera, Pingju Opera, Shanxi Opera, Han Opera, Hebei Bangzi Opera, xiang opera Opera, Huangmei Opera, Hunan Opera, etc.

Edit this development cycle

1, bud

In primitive society, primitive songs and dances were produced in villages where clans lived together. With the gradual growth of clans, songs and dances also gradually developed and improved. For example, in many ancient rural areas, there is still a long tradition of singing and dancing, such as "Nuo Opera"; At the same time, some new songs and dances, such as "Shehuo" and "Yangko", came into being to meet people's spiritual needs. It is these song and dance performances that have created a group of skilled folk artists and made some progress in the direction of opera.

2. Prosperity

From the middle of the12nd century to the beginning of the13rd century, professional art and commercial performance groups, Yuan zaju and Jin Yuan editions, which reflected citizens' life and views, were gradually produced, such as Yuan created by Guan Hanqing, Autumn in the Han Palace created by Ma Zhiyuan, Revenge of Zhao Orphan and so on. This period is the prosperous period of China traditional opera stage.

Step 3 extend

/kloc-In the middle of the Ming Dynasty in the 6th century, Kunqu Opera rose in the south of the Yangtze River, with performances by Qiu Haidong and Chen Lijuan, and Huai Opera "Fifteen Passes" and "Zhanhuakui" and other repertoires poured out.

Eyes. The opera popular with farmers in this period was Yiyang Opera, which originated in Anhui and Jiangxi, and Kunqu Opera was popular with feudal elites.

4. heyday

Most of the works in the late Ming and early Qing dynasties describe people's heroes, such as Mu and Tao Sanchun. At this time, local operas mainly included northern Bangzi and southern Pihuang. Peking Opera was produced on the basis of the high prosperity of local operas in Qing Dynasty. During the reign of Tongzhi and Guangxu, the first generation of Peking Opera actors and masters of different schools appeared, which marked the maturity and prosperity of Peking Opera. Soon, Beijing opera developed all over the country, especially in Shanghai and Tianjin. Peking Opera has become a widely influential drama, which has pushed China's traditional opera art to a new height.

Editing this golden age

1, Yuan Zaju

The drama of the Yuan Dynasty is called Yuan Zaju. Yuan Zaju is not only a mature advanced drama form, but also regarded as the mainstream of a generation of literature because of its most distinctive characteristics of the times and artistic originality. Yuan Zaju was originally centered on Dadu (now Beijing) and was popular in the north. After the Yuan Dynasty destroyed the Southern Song Dynasty, it developed into a national drama. In the Yuan Dynasty, the stars were bright and the masterpieces were like clouds. Yuan Zaju flourished, and artistic development and social reality provided an opportunity from two aspects. Judging from the development of art itself, drama has accumulated a lot and reached maturity after a long brewing and slow process, both in internal structure and external performance. Just at this time, after experiencing the heyday and glory of Tang and Song Dynasties, traditional poetry went into decline. In the eyes of talented artists, the theater art park is a new land waiting for them to cultivate. From the social reality, the abolition of the imperial examination system by the rulers of Yuan and Mongolia not only cut off the possibility of intellectuals entering the official career, but also relegated them to a very low position: only higher than beggars and lower than ordinary people and prostitutes. These highly educated intellectuals have fallen into the bottom of society. In the helplessness of alienating classics from history and indifferent poetry, they had to go to Goulan Washe to kill time and find a way out. As a result, the emerging Yuan Zaju unexpectedly gained a group of professional creators. They have an industry organization called "Reading Club", and the playwright who joined the reading club is called "Mr. Reading Club". These impoverished literati cooperated and competed in groups, creating the golden age of China's drama. Different from previous poems that tend to express subjective feelings and interests, Yuan Zaju takes it as its responsibility to reflect the society widely. Obviously, this is because writers have lived in Luxiang village for a long time and have a deep understanding and feeling of reality. The script system of Yuan Zaju is mostly composed of "four folds and one wedge". 40% off is a paragraph with four plots, just like making a fuss about inheritance and combination. The wedge is short, usually placed before the first fold, which is somewhat similar to the later "prelude". In art, Yuan Zaju mainly sings and combines rap. Each fold is composed of several tunes in the same palace tune into a suite. There is only one rhyme in the whole set, with Zheng Dan as the leading role or Zheng Dan as the leading role. This kind of "one-person lead singer" can give full play to the specialty of singing art and shape the protagonist heartily. Being influenced by the tradition of joining the army, Nianbai is often gagged and full of humor. The music structure and drama structure are unified, so as to achieve a regular system, which shows the maturity and perfection of the art of Yuan Zaju.

2. Ming Dynasty drama

Because the legendary drama style lasted until the Qing dynasty, it was also called the Ming and Qing legends. Legends of Ming and Qing Dynasties inherited the Southern Opera system in form, which is more complete. A script, mostly only about 30, is often divided into two parts; The author also pays special attention to the compactness of the structure and the interweaving of themes. Legendary music is also a combination of music and cards, but it is more developed than southern opera, and ten-fold opera is no longer limited to a palace tune; The number of qupai also depends on the needs of the plot; All the characters on the stage can sing. Legends of Ming and Qing Dynasties contain many local accents. Among them, Kunshan cavity and Yiyang cavity are the most widespread and far-reaching ones. After Wei Liangfu's political reform in Jiajing period (the year of birth and death is unknown), Kunshan dialect created a euphemistic, delicate, smooth and distant "ink and wash tone", which paid attention to clarity, correctness and purity. Combining string, flute and drum board, a full range of band accompaniment was established. The performance of "Huansha Ji" made Kunshan Opera a national opera through the stage. Yiyang Opera originated in Jiangxi, which is mainly popular among the people and performed by Jianghu Troupe. Every time it spread to a place, it merged the local language and folk music and evolved into a localized voice cavity. Yiyang Opera does not need orchestral accompaniment, but only uses gongs and drums and Kunqu Opera "Peony Pavilion"-a garden tour.

In order to have a sense of rhythm, singing in unison, taking the form of mentoring and helping each other, is characterized by popularity, folk, and focusing on performance effects. It and the elegant style of Kunshan Opera form two different trends of China Opera. After long-term stage practice, the role division of Ming drama is more detailed. For example, Kunshan dialect has the word 12, and the protagonist is not limited to being positive, and the ugliness is not just teasing. In the late Ming Dynasty, the stage became popular, with opera performance as the main fashion. The so-called passbook drama refers to the projects selected from the whole legendary repertoire. It's just some relatively independent fragments of the whole drama, but in these fragments, the scenes are wonderful and the singing skills are excellent. The appearance of Zhezi Opera is the result of the strong development of drama performance art, and it is also the necessity of time and stage elutriation. After the audience is familiar with the plot, they can enjoy the performance skills of the opera. Peony Pavilion's Gardens and Dreams, Moon-worshipping Pavilion's Treading Umbrella and Yue Bai, and Jade Hairpin's Picking the Qin and Chasing the Boat have become popular and enduring masterpieces.

3. Drama in Qing Dynasty

The Palace of Eternal Life is based on the love story between Emperor Ming of Tang Dynasty and Yang Guifei. From the moment there was a little truth between the emperor and the princess, Yang Yuhuan defended her stable relationship with Li Longji. She is jealous, curious, noisy and invites all kinds of pets. As the son of heaven, Emperor Ming of Tang Dynasty "relaxed the imperial court and occupied the love field". The abandonment of Chaogang aroused the resistance of An Lushan, an aspirant, and the resentment of the army and the people. Under the pressure of sergeant mutiny, Emperor Tang Ming sentenced Yang Yuhuan to death in Maweipo. However, the change of Ma Wei is not the end of the play. Since then, Hong Sheng has pinned his emotional realization on the ideal heaven. The hero and heroine fly to fairyland, and in their regrets and dreams, love is finally sublimated and purified. The Palace of Eternal Life is not a simple love drama, but a well-known Li Yang love story in a broad social and political background. The sincere oath between the emperor and the princess, the endless yearning between heaven and earth, is Hong Sheng's eulogy and tragic call for the most affectionate ideal; At the same time, in the long scroll of social unrest and people's livelihood, Hong Sheng's consciousness of the rise and fall of the country and his political criticism of the emperor's "neglecting the country" have been clearly reflected. Therefore, The Palace of Eternal Life greatly appreciates the shaping of Li Yang's image. The emotion in Hong Sheng's works contains two opposing aspects, good and bad, which is an insurmountable contradiction between him and his works.

Edit the main features of this paragraph.

China's traditional opera, Greek tragedy and comedy, and Indian Sanskrit drama are called the three ancient drama cultures in the world. The first person who used the word "opera" in history was Song (1240- 13 19), who proposed "Yongjia Opera" in The Biography of the Poet Wu. What he said was "Southern Opera", "Drama" and "Yongjia Opera". Since modern Wang Guowei, "drama" has been used as the general name of traditional drama culture in China. China's traditional opera is a comprehensive art, a combination of time art and space art, which is possessed by the drama culture of all countries in the world, especially China's opera. China Opera is a form of drama centered on the comprehensive performance of singing, reading, doing and playing. It is rich in artistic means of expression, and its comprehensive combination with the performing arts makes China opera full of special charm. It integrates the beauty of lyrics, music, art and performance, controls a play with rhythm, achieves harmony and unity, fully mobilizes the appeal of various artistic means, and forms a unique rhythmic performance art in China. The most important feature of China's traditional operas is virtuality. Stage art does not simply imitate life, but selects, refines, exaggerates and beautifies the prototype of life, bringing the audience directly into the art palace. Another artistic feature of China opera is stylization, such as closing the door, getting on the horse and taking a boat. The program in traditional Chinese opera is both normative and flexible, so the art of traditional Chinese opera is properly called regular free action. Synthesis, virtuality and formality are the main artistic features of China traditional operas. These characteristics, which condensed the essence of China's traditional culture, formed a unique view of drama, and made China's operas shine with unique artistic brilliance on the stage of world drama culture.