Artistic Features of Peking Opera

Artistic Features of Peking Opera

The form of the Peking Opera script is characterized by significant features, which were formed under specific historical conditions. Here are the artistic characteristics of Peking Opera that I shared, take a look together.

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Origin of Peking Opera

Peking Opera is an important means of interpretation and dissemination of traditional Chinese culture. It is distributed throughout China with Beijing as the center.

Peking Opera, once known as Ping Opera, is one of the five major Chinese opera genres. Peking Opera is characterized by its artistry, which is dominated by xi pi and er huang, and accompanied by huqin and gongs and drums, which is regarded as the national treasure of China.

In the Qing Dynasty, since the 55th year of the Qianlong era (1790), the original performances in the south of the three celebrations, four happy, Chuntai, and spring, the four Huiban one after another to enter Beijing, and they work with the Han tune artists from Hubei, and at the same time, accept the part of the repertoire of the Kunqu opera, the Qinqiang, tunes and performance methods, and absorbed some of the local folk tunes, and through the continuous exchange, integration, and ultimately the formation of the Peking Opera. After the formation of Peking Opera, it began to develop rapidly in the court of the Qing Dynasty until the Republic of China gained unprecedented prosperity.

Artistic Characteristics of Peking Opera

The stage art of Peking Opera consists of a set of mutually restraining, mutually reinforcing and standardized programs through the long-term stage practice of countless artists in the areas of literature, performance, music, singing, gongs and drums, make-up and face painting. As an artistic means of creating stage images, it is very rich, and its usage is very strict. If you cannot master these programs, you will not be able to complete the creation of Peking Opera stage art. Because the Peking Opera entered the court at the beginning of its formation, its development and growth differed from that of local theater.

It is required to express a wider area of life, to portray more types of characters, the comprehensiveness and completeness of its skills are also required to be more stringent, and the aesthetics of the stage image it creates is also more demanding. Of course, at the same time, it also correspondingly makes its folk local flavor weakened, pure and simple, rough style features relatively thin. As a result, its performing art tends to combine the real and the imaginary with the expressive techniques, maximizing the limitations of the stage space and time, in order to achieve the artistic realm of "conveying the spirit with the shape, and the spirit with the shape". The performance requirements of the delicate and delicate, everywhere into the theater; singing on the requirements of the melodious and gentle, voice and emotion; martial arts play is not to win the fiery and fierce, and to "martial arts theater Wen singing" see good.

Peking Opera script form characteristics

Peking Opera script form, is formed under specific historical conditions. In terms of the structural features of the Peking Opera script, Peking Opera belongs to the split system, specifically, according to the 'needs' of the plot, flexible arrangements for each scene of the drama, divided into large scenes, small scenes, over the scene of the play, and singing, reading and playing a variety of artistic means, organically combined. This structural system abandoned the Ming and Qing sagas to music as the center, to the song set (will be a number of songs according to certain chapters of the combination of sets, constituting a play of the music system) to constitute the structure of the drama of the paragraphs, but according to the needs of the plot to the plate change body (to the linkage and change of the different plates, constituting a play of the music system) constitutes the music of the play, the music of the structure of the play to obey the structure of the requirements. The structure of the music is completely subordinate to the requirements of the structure of the play. According to the different themes and genres, the script can arrange singing, reciting, acting and fighting with one artistic means to form singing, acting, martial arts, singing and dancing. Therefore, the system of the plate change body of the sub-field, so that the literary structure of the Peking Opera to obtain the most distinctive form of expression.

This structural form has a unique point in the treatment of stage time and space. As mentioned in the previous chapter, firstly, the time-space does not exist independently on the stage of Beijing opera, but is embodied through the actors' singing and chanting. Secondly, the time-space on the stage is fluid...variable. According to the needs of the plot and characterization, the time can be fully extended, like Sun Wu Jiao's picking up of the bracelet in Picking up the Jade Bracelet, which can be performed repeatedly, or drastically compressed. For example, Chen Gong in "Catching and Discharging Cao" uses a few choruses to get through the long night. Similarly, in space too, it is fluid and changeable. It can be like "Autumn River" to show the changes of the stage environment with flowing space, or like "Chang Ban Po" and "Zhang Gu Dong Borrows a Wife," there are two or more spaces on the stage at the same time. This flexible approach to time and space, unlimited expansion of the stage time and space, so that the script in the structure of the plot, the development of conflict, characterization, to achieve the greatest possible freedom, the development of a wide range of rich life scenes.

Musical Characteristics of Peking Opera

The music of Peking Opera belongs to the plate cavity, and the commonly used cantata are Xipi and Erhuang, so Peking Opera is also called Pihuang. Peking Opera is also commonly sung in the Southern Bang Opera, Siping Tune, Gao Bazi and Blowing Cavity, as well as some of the Kunqu Opera singing. Xipi has a rich variety of plate styles, including "original plate", "slow plate", "fast three eyes", "two or six", "Running Water", "Quick Plate", "Guide Plate", "Rocking Plate", "Scattered Plate" and so on. Scattered boards", etc., there are also antiphonal. The Erhuang style includes the "original board", "slow board", "fast three eyes", and "guide board", "Scattered Plate", "Rocking Plate", "Palletizing Plate", etc., and developed a huge counter-tuning system called "Anti-Erhuang". The system of antiphonal tunes was also developed, which is called "Anti-Erhuang". As there are many singing styles in Peking Opera, I will only list a few that are more suitable for beginners to enjoy - Xipi shaking board, flowing board and fast board. The dominant role of each singing style is the rhythm of the Jinghu, so how to distinguish between the various singing styles is mainly to listen to the rhythm of the Jinghu fast and slow. Beginners should start with one or a few cantatas, and then gradually learn to appreciate other cantatas after they have a certain understanding. Of course, some of the lesser-used singing styles are also famous, such as Yang Yuhuan in "The Drunkenness of the Concubine": "The ice wheels of the island are turning .......". The first time I saw this, I was in the middle of a conversation with my husband, and he was in the middle of a conversation with my wife.

In terms of the musical characteristics of Peking Opera, the common repertoire, there is the "Four Boys Visiting Their Mother", Yang Yanhui sang "not open the words can not help but people in tears" is the old man's "Xipi guide", Princess Tiejing sang "husband and wife", "we play sitting in the palace courtyard". Princess Tiejing sang "husband and wife sitting in the palace courtyard" is the Qingyi's "Xipi guide". Xipi guide used to start a lot of singing, more commonly used. In this opera, Yang Zongbao sings "Yang Zongbao passes the order on the horse", which is the xipi guide of the young scholar; in "The Case of the Guillotine", Bao Zheng sings "Bao Longtu sits in the Kaifeng Palace", which is the xipi guide of the pure line; and in "Playing the Dragon's Robe", China's eunuch sings In "The Dragon's Robe", China Tai Tai sings "The Dragon's Colt and the Phoenix Chariot Enter the Imperial City", which is the Xipi guide of the old Dan. Although there are many kinds of Xipi guide, but the door is basically similar, as long as you listen to the familiar door to know what the actors want to sing what board style. If there are too many guiding boards in the same opera, the piano player will use more different flowers to accompany the door, so as to avoid hearing fatigue.

Stuffed curtain guide and general guide singing is basically the same, but in the case of the actor did not go on the stage first sung behind the scenes, such as "Xiyaojin" in the Liu Xie (Emperor Xian) in the curtain, there is a large part of the singing "fathers and sons in the palace courtyard sad tears," is the stuffed curtain guide, sung after the character before the scene. But this is a two-huang guide, not a Xipi guide.