Are there four or five characters in the play?

Male role, female role, painted face and clown —— Four types of roles in Beijing Opera.

According to the traditional custom, there are two ways to classify characters in China's traditional operas, namely "life, Dan, purity and ugliness" and "life, Dan, purity, beauty and ugliness". Since modern times, the "Mei" line of many operas has gradually been classified as "Sheng", and "Sheng, Dan, Jing and Ugliness" are usually regarded as four lines. Every profession has its own branches, and each branch has its own basically fixed characters and performance characteristics. Among them, "Dan" is a general term for female roles; "Fate", "net" and two lines are male roles; In the "ugly" line, except sometimes playing ugly Dan and old Dan, most of them are male roles.

Students: male students, old students, Wu Sheng.

Dan: Female Hua Dan Peking Opera Blues Tsing Yi.

Net: draw a face

End: elderly men

Clown: Clown Wen Chou Wu Chou.

Generally speaking, the makeup of "Sheng" and "Dan" is to apply a little powder to beautify the effect. This kind of makeup is called "handsome makeup", also called "plain face" or "cleansing". Its characteristic is "a thousand people have one side", that is, all the faces of the word "sheng" are the same, no matter how many words, they are all a face from the face; The face of the word "Dan" is similar no matter how many words. The characters of "Sheng" and "Dan" mainly depend on their performances and costumes.

Make-up with facial makeup is a variety of roles used by "clean" and "ugly" businesses, which change the true colors of actors with exaggerated strong colors and ever-changing lines, in contrast to the "raw" and "Dan" makeup of "plain face". The hook faces of "clean" and "ugly" characters are determined by different people, and everyone has a score. Although it is composed of stylized spectrum, it is a kind of personality makeup, which directly expresses the personality of the characters. There are as many "clean" and "ugly" characters as there are spectrum samples, which is different. Therefore, facial makeup is characterized by "ever-changing".

"Net", commonly known as face painting. Characterized by patterned facial makeup outlined in various colors, it shows rough, strange and heroic characters in personality and temperament. This kind of characters should be broad and bright in performance, with vigorous singing, rough and sharp action modeling lines, large "color blocks", large opening and closing, and magnificent bearing. Such as Guan Yu, Zhang Fei, Cao Cao, Bao Zheng and Lian Po.

According to their identity, personality, artistic and technical characteristics, net walkers can be divided into Zheng Jing (commonly known as Dahualian), Vice Jing (commonly known as Erhualian) and Wu Jing (commonly known as Wuerhua). There are shelves and two faces in the sub-net. Ugliness is commonly known as small face or three faces.

Zheng Jing (big face), mainly a singer. In Peking Opera, it is also called copper hammer flower face or blackhead flower face, and most of the roles it plays are important officials of the imperial court, so winning by magnanimity is its modeling feature.

Sub-net (also known as Erhualian) can be divided into painted surface and Erhualian. The faces of the characters painted on the easel are mainly work and heavy body movements, and most of them are bold and brave positive characters, such as Lu, Zhang Fei and jy. There are also villains, such as Cao Cao, who plays the white face in Beijing opera. In other operas, most of them are not called face painting on the shelf, and some operas are called face painting on sandals, such as Sichuan Opera and xiang opera. Erhualian is also a kind of face painting on the shelf, with few scenes and sometimes ugly performances, such as Liu Biao of Famen Temple.

Jason Wu (Wu Erhua) can be divided into two categories: heavy hand-holding and heavy fall. Yang in Golden Beach and other characters in Siping Mountain are mainly introduced. A heavy fall and a beating, also known as beating. For example, in Pulling Pulley, Niu Hao is a shelf, and Jin Wushu is Wu Hualian, and Jin Wushu turned the black wind into a beating.

"Ugliness" (small face or three faces) is a comedy character. Drawing a face between nose and eye socket plays a funny and funny role. Generally speaking, they don't repeat singers in their performances, but mainly speak clearly and fluently. It can be divided into two branches: Wen Chou and Wu Chou.

The classification of character industry in traditional Chinese opera is different in different operas. The above classification is mainly based on the classification of Beijing opera, because Beijing opera gathers the essence of many operas and represents the universal law of most operas, but this can only be a general classification. Specific to each kind of drama, the name and division are more complicated.

At the end, play a man over middle age. The term "end mud" or "clue color" in northern zaju generally refers to the right angle of the end, which is the same as the word "fate" in Song and Yuan zaju, but has different meanings from "end". The "Duan" in Southern Opera in Song and Yuan Dynasties is actually the "Deputy Duan", which not only serves as a newspaper station to introduce the plot outline and the theme of the play, but also plays a secondary role in the plays with low social status. The "late" line of Kunqu Opera was developed after the foot color system of Nanqu Opera in Song, Yuan and Yuan Dynasties. According to the way of Nankun, three families, including the old man, the deputy end and the foreigner, took shape in the middle of Qing Dynasty.

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There are five kinds of performing roles in ancient Indian Sanskrit dramas: 1) the hero, which is transliterated as Yegya in Sanskrit. 2) The heroine whose Sanskrit transliteration is Iyga. 3) Ugly supporting actors, transliterated in Sanskrit as Pitugaya, often dressed as Brahmins, mostly helping the host and joking in slang. 4) The supporting role of the family boy, transliterated in Sanskrit as Vishnu. 5) Sanskrit transliteration is Du Tuo's maid-in-waiting supporting role. Coincidentally, Xia Yuan clearly pointed out when talking about the role of China Song and Jin Zaju in the concentration of brothels: "The courtyard is the beginning, and there are five people: one is the sub-network ... the other is the introduction of the play ... the other is the mud at the end, and the other is loneliness ... Zaju has Dan and the end. Dan, this woman does it, and the makeup is Dan color; The end of this person is called Minnie. " In Yuan Dynasty, Tao called these five roles and performances in Song and Jin Zaju "Five Flowers". Although it is still difficult for us to have sufficient historical data to judge that the five characters in Brahma Opera in ancient India are exactly the same as those in Song and Jin Zaju, the characters in Brahma Opera in ancient India, such as Geyega, Geyijia, Piduga and Pida, are similar to those in China's classical drama. In addition, there is no doubt that the origins of these two characters in China's classical operas are inextricably linked with some sister art forms related to ancient Indian dramas.

Shan, as a performer, began to be called "Hu Da the strange bug" in Huan Kuan's theory of salt and iron in the Western Han Dynasty. Hu da ji, namely Hu da ji, initially clarified the origin of "da ji". Dada, from the female side, shows her gender characteristics. The ancient "da ji" was also called "Da Dan". For example, Zhu Quan's "Taihe Yin Zhengpu" in the Ming Dynasty said: "It is a good idea to lead a play in the courtyard." Then, as one of the main roles of China's Song and Jin Zaju, what is the relationship between "attracting drama" and "Dan" (or "Da")? Regarding the origin of "drama introduction", the sage Wang Guowei pointed out in "A Textual Research on Ancient Drama": "However, drama introduction and drama introduction are actually ancient dance introduction." It can be seen that the "leading opera" comes from the "leading dance". The ancient "leading dance", similar to the current leading dance, is an actor who plays a commanding and guiding role on the dance floor. It is not difficult to find that the tonic part of many words related to dance in Sanskrit is very similar to the pinyin of "Dan" in Chinese Pinyin. The Chinese pinyin for "Dan" is "Dan", the Sanskrit Tandava refers to the general dance, and the Chinese translation is "single woman". It can be inferred that after Sanskrit was introduced into China, people at that time may have called the leading role in Song and Jin Zaju "Dan" through the transliteration of Tan Daowei, a Sanskrit dance word. Because "leading the opera" and "leading the dance" have similar performance functions, and "leading the dance" is mostly played by women, so there are also "Da" Mr. Zhang Geng and Mr. Zhang also pointed out: "As for the color of' Zheng Dan', it comes from the drama and makeup introduced by the school."

Similarly, the male role in Song and Yuan zaju is called "Mo" (or "Mani"), which is also related to Sanskrit. In this regard, Mr. Huang Tianji pointed out through detailed textual research that "the end is actually the head of the play" and "the head of the play is also the legacy of the head of the dance in the court songs and dances in the late Tang Dynasty". It can be seen that the end (or mud) is a performance function similar to "leading dance" developed from the original "drama head", and "drama head" also plays a role of command and guidance in the performance of Song and Jin zaju. However, the specific function of the "drama head" is not to lead the dance, but to sing or shout slogans, that is, to guide by songs or memorizing words. Therefore, Song and Wu said in Dream of Dreams: "For example, in zaju, the end of the mud is the length ... the end of the mud advocates, and the drama is divided into colors ..." The so-called "advocacy" is what we are talking about now. Mr. Huang Tianji once pointed out, "In the performance of Song Zaju, it is probably equivalent to' advocating' at the end of the performance. You should also read aloud, make jokes, and most importantly, sing ... Singing is a skill that you should be familiar with at the end." Duan's performance is mainly singing or chanting, and the Chinese translation of the word "Ma", which is similar to chanting in Sanskrit, happens to be the origin of the title "Duan" and "Dan". After Sanskrit was introduced to China, people may call the actor whose main performance function is chanting "Mo" according to the Chinese translation of the word "Hu" in Sanskrit.

At the end of the line, most of them play men over middle age. Divided into old students, late students and outsiders.

Laosheng: Middle-aged man, whose role is mainly positive.

Ending: generally playing a middle-aged man, the effect is not as good as the old man in the drama. As usual, the traditional Kunqu opera, the first performance of the whole legend, began with the vice chairman reciting lyrics and songs.

Foreigner: Most of the roles they play are mature and prudent people, with a wide range of objects, from important officials of the imperial court to servants.

Life, purity, ugliness and the commercial system of Qiong Opera;

Traditional opera, also known as traditional opera foot color, is a unique performance system of China traditional opera. Because of the stylized features of China's traditional operas, when expressing life, people are deliberately divided into pure and ugly types. The essence of China traditional opera is the systematic artistic exaggeration of life content, which reflects the unique aesthetic taste of our nation. The stylization of career is not only the stylization of drama characters, but also the stylization of performance skills. In China's traditional operas, people's understanding and aesthetic evaluation of the characters' personality, age, identity, status, character and temperament are reflected.

The establishment of the traditional opera career system is due to the development of the performing arts of southern operas in Song and Yuan Dynasties. In the past, the sub-network and sub-end, which specialized in funny jokes, gave way to life, thus making positive people the main performers on the opera stage. However, only in the prosperity and evolution of Yiyang Opera did China's traditional opera art become completely divided. At this time, not only the occupations were strictly classified according to the personality types of the characters, but also several branches were refined in each occupation. It is in the long-term practice of drama performance that drama chooses and determines the commercial system.

If we start from the doll play, the history of Qiong Opera can be at least pushed back to the Yuan Dynasty, when "singing with wooden hands". But it is not only the puppet show that has an influence on Qiong Opera, but also the Song and Yuan operas. Many old artists of Qiongju believe that the business system of Qiongju comes from Nanxi Opera according to the legend handed down from generation to generation. They believe that not only the early business of Qiong Opera is the same as that of the ancient Liyuan Opera, but also the current business of Qiong Opera is inextricably linked with the Southern Opera. The early business of Qiongju opera was mainly divided into four categories, and it was not until the late Qing Dynasty that a five-pillar business system was formed. Influenced by Peking Opera and Cantonese Opera, the professional system of Qiongju Opera has developed more comprehensively and completely since one generation.

There are three views on the classification of Qiong Opera. The first view, represented by the article "An Overview of Qiongju" by Hainan Qiongju Theatre, holds that Qiongju can be divided into six categories: "Qiongju has complete facilities and reasonable division of labor. It is divided into six pillars: health, Dan, cleanliness, end, ugliness and miscellaneous. " The second view also thinks that the business system of Qiong Opera can be divided into six categories, but it thinks that these six categories are raw, Dan, miscellaneous peanuts, clean, bearded and old woman. The third view, represented by the article "The Origin of Qiongju Opera" by Haikou Qiongju Opera Troupe, holds that Qiongju Opera can be divided into five categories: "Life, Dan, Quiet, Beauty and Ugliness, and every profession has rich singing art."

For the above three viewpoints, we think the first two viewpoints are too comprehensive and complicated. The first division pursues diversity, but it does not conform to the reality of Qiong Opera. In particular, miscellaneous lines are only mass roles in Yuan, Ming and Qing operas. In today's Cantonese Opera, they are similar to Erhualian in Beijing Opera, but they are really a branch of the net, and it is difficult to draw a clear line between them. The second view is based on the reality of Qiong Opera, but it is too detailed, which is not in harmony with the current business system of Chinese Opera. In particular, beard, miscellaneous feet, peanuts and old woman's feet are all appellations of foot color in Hainan dialect. Comparatively speaking, we think the third view is preferable. In other words, the commercial system of Qiong Opera consists of five categories: health, Dan, purity, ugliness, with health and Dan as the main body. Under each line, it can be further subdivided into several types of foot colors. Because the origin of Qiong Opera is complex and diverse, according to the different characteristics of its origin and performance, Qiong Opera is divided into two major systems: literature and martial arts. Therefore, in each line, it can be divided according to civil and military, so that there are two teams of civil and military in each line of Qiong Opera.