Beijing Opera

China Theatre Hair and Make-up Preparation

The History of Chinese Mask

China has a rich and colorful cultural history, and masks have played a major role in Chinese tradition for thousands of years. Chinese masks, depending on their function, are divided into several different categories, such as sorcerers' masks, Tibetan masks, shaman masks and theatrical masks. Today, masks continue to be of great artistic and entertainment value. Also, Chinese masks have become highly desired items by collectors worldwide.
Earliest Masks
The first Chinese masks were made about 3,500 years ago as part of shamanism, or religious healing. Masks have played an integral role in many rituals, such as worshiping the god that destroys pestilence and grants blessings. They also have a long history in the arts, particularly dance and opera. Today, masks continue to be worn for religious ceremonies, life events such as weddings and funerals, and world renowned cultural events.
Sorcerer's Mask
Chinese masks, which are either made of wood or painted on faces, are donned either on a person's head or face. Sorcerers' masks from the Yunnan and Guizhou provinces were worn to welcome the god of fortune or to soothe the soul when someone had died. A number of different ethnic groups come from Yunnan and Guizhou. Their cultures incorporated totem worship and sorcerer rituals. Some of these societies are the Jingpo, Wa, Zhuang, Jinuo, Bai, and Dai.
Exorcising Masks
About a thousand years ago in the central plains of China, cultures used masks for exorcising, or driving away evil spirits. The masks were also worn to celebrate births and to keep homes safe by scaring evil ghosts. This culture, located in the southern portions of the Yangtze River, was combined exorcism along with totem worship. This tradition much later evolved into operatic productions that were very popular with the army, because they praised the military.
Theatrical Performances
Masks are frequently worn or painted on faces in Chinese operas and other theater productions. The facial makeup dates back to the Song (960 to1279 A.D.) or Yuan (1271 to1368 A.D.) dynasties, or earlier. Murals in tombs from this period of time have similar-looking made-up faces. The face painting was perfected during the Ming Dynasty (1368 to1644 A.D.), when colors began to portray varying personality traits that are still seen in present day "Jingju," or Beijing operas. Red stands for being devoted, brave, upright and loyal. Guan Yu, general of the Three Kingdoms in 220 to 280 A.D., is depicted with a red face because of his steadfastness on behalf of Emperor Liu Bei. Black paint depicts a fierce and bold character. This color is exemplified by Bao Gong, also called Bao Zheng, who was a fearless though fair judge during the Song Dynasty.

Xiangdong Nuo Mask
The Xiangdong Nuo Mask first appeared in the Hunan province and spread to the Xiangdong region of the Jiangxi province. This mask is an essential part of the Nuo culture, used specifically for rituals, dance and opera. The masks represent the high-quality Chinese artwork, with ornate painting and bright colors that define characteristics of the gods. Depending on the craftsman, the masks can have exaggerated lines or a more true-to-life appearance. They can depict a variety of masculine traits, such as savagery, power, arrogance, commitment, calm and friendliness.
Collectibles
Many traditional Chinese masks are displayed in museums or valued by collectors. Chinese New Year masks, which can be made from a variety of materials such as cloth, leather, metal, shell or wood, are very collectible. These celebratory masks represent some of the finest craftsmanship in the world and are greatly desired by artists.
The origins of Chinese masks are rooted in ancient religious shamanism. Over the centuries and many generations, artists refined the use of colors on Chinese masks. Today, color continues to be used to indicate emotions or give clues about the identity of a character.
Types of Chinese Masks
There are several types of Chinese masks: dancer's masks, masks for festive occasions, masks for newborns, masks designed to keep homes safe and theatrical masks. When used on the stage, masks help viewers determine, at a glance, the attributes of a theatrical character. Masks are usually made from wood. However, Chinese opera masks, possibly the style that is best known in the west, are actually painted on actors' faces.
Color Meanings
Many colors are used in any given Chinese mask, but the dominant colors impart specific characteristics.
Red used on masks indicates a positive character. Red can also mean prosperity, loyalty, courage and heroism. Red shows intelligence and bravery.
Purple is sometimes used as a substitute for red. In its own right, purple can represent justice and sophistication.
Black means that the character is neutral. Black also indicates impartiality and integrity.
Blue faces are also an indication of neutrality. In addition, blue can show stubbornness, astuteness and fierceness.
Green shows that the character is violent, impulsive and lacks restraint.
Yellow tells the audience that the character is cruel. Yellow can also mean evil, hypocritical, ambitious or sly.
White faces indicate that the character is evil and hypocritical.
Gold and silver show the audience that the character is a god or a demon. The character also may be a ghost or a spirit. Gold and silver symbolize mystery.

A Chinese Theatre House

Traditional Costumes

Besides facial make-up, each character in Chinese Opera wears a distinctive costume which tells the audience about the rank, status and personality traits of the wearer.

Armour
The armour or K'ao is a stiff costume with brilliant colours and often has the design of a tiger's head or dragon across the front. It is worn by actors and actresses playing high military officials in the jing (painted face), Wu Sheng (male acrobat) and Dao Ma Dan (female warrior) roles. If the official wears four triangular pennants on his back, it shows that he has received his authority from the emperor himself.

Military characters also wear headgears with two great pheasant plumes that are sometimes nearly six or seven feet in length and sprouting from the actor's head.

Picture source: Hokkien Kong Huay XiangOpera Troupe This actor plays a wu sheng with his armour and spear. Picture source: Hokkien Kong Huay XiangOpera Troupe The actor dons the warrior's special gear which also included four triangular pennants on his back.

A male and a female warrior.
Picture source: Hokkien Kong
Huay XiangOpera Troupe






Headdress
The headdress is a very important accessory in the 
Chinese Opera costume as it helps the audience 
to identify specific roles.


A backstage display of headresses.

Elaborate headresses decorated with sequins and pearls 
are only worn by people of high status such as 
emperors and empresses, generals, princes and chief concubines.
More important characters will wear more 
ornate and striking headresses.

Dan characters usually wear elaborate headdresses.

Picture source: Hokkien Kong Huay
XiangOpera Troupe

An emperor and empress in elaborate headdresses.
Picture source: Hokkien Kong Huay XiangOpera Troupe

Hats

Picture source: Hokkien Kong Huay XiangOpera Troupe There are many different kinds of hats worn in Chinese Opera. Scholars and officials often wear simple black hats with two fins coming out from the sides.

Thus, it is important for actors to wear the right hats as the fins denote an actor's character or rank.

Hats with rectangular fins are worn by high officials while round fins are worn by treacherous characters. Hats with long, thin fins are only worn by Prime Ministers. Picture source: Hokkien Kong Huay XiangOpera Troupe

A young scholar from a well-to-do family will wear a richly embroidered hat and fins in the shape of two curled butterfly wings. Picture source: Hokkien Kong Huay XiangOpera Troupe

Sleeves

They are sleeves which have an extra length of cloth that consist of long strips of white silk. Water sleeves are flickered to emphasize a point, shaken

Picture: A History of Chinese Opera in Singapore

when angry or stretched out when in dance. Some hua dans and high officials have water sleeves.

Sheng and Hua dan with their long water sleeves. Picture source: Hokkien Kong Huay XiangOpera Troupe

Chinese Opera

Chinese Opera has a history that dates back 4,000 years ago. It is believed that the Chinese people were involved in ritual dancing and singing to please or entertain spirits during their religious rites.

It is a popular form of drama and musical theatre in China with roots going back as far as the third century CE. There are numerous regional branches of Chinese opera, of which the Beijing opera (Jingju) is one of the most notable.

During the Han Dynasty (206BC-AD 220), story-telling was blended with dance to produce an elementary form of musical drama. Thus, the lessons on friendship, love, hatred, treachery and loyalty in folktales were played out on the Chinese Opera stage, where performers share these traditional folktales through speech, songs, dance, elaborate costume and colorful make-up. These stories were performed on stage as part of the ceremonies and celebrations in the imperial courts.

Opera singing and acting further developed during the Zhou Dynasty. Religious festivals were held where priests and soothsayers chanted and performed mimes to convey their beliefs to worshippers.

During the Song Dynasty, opera groups were usually made up of family members who wandered from place to place to put up performances. Child actors were common and they are trained from very young ages for a particular role.

Opera female impersonators were common as women were banned from performing on stage to prevent men from being corrupted. At that time, Opera actors were regarded as belonging to the lowest strata of society.

In the past, large-scale shows were put up at the imperial palace. However, actors who had no place to practice before the royal performances, used to rehearse in teahouses and customers would watch. Plays were also performed in temple courtyards during religious festivals such as birthdays of deities. The wealthy also engaged troupes to perform at their homes during wedding or anniversary celebrations as well as for private entertainment.

Chinese opera in a more organized form began in the Tang Dynasty with Emperor Xuanzong (712–755), who founded the "Pear Garden" (梨园; líyuán), the first known opera troupe in China. The troupe mostly performed for the emperors' personal pleasure. To this day operatic professionals are still referred to as "Disciples of the Pear Garden" (梨园弟子, líyuán dìzi).
In the Yuan Dynasty (1279–1368), forms like the Zaju (杂剧, zájù, variety plays), which acts based on rhyming schemes plus the innovation of having specialized roles like Dan (旦, dàn, female), Sheng (生, shēng, male), Hua (花, huā, painted-face) and Chou (丑, chou, clown) were introduced into the opera.
Although actors in theatrical performances of the Song Dynasty (960–1279) strictly adhered to speaking in Classical Chinese onstage, during the Yuan Dynasty actors speaking in the vernacular tongue gained precedent on stage.

Chinese Drama

   The classical Chinese theater developed during the Yüan dynasty (1260–1328). Springing from story cycles made familiar by professional storytellers, Yüan plays relied for their appeal on romantic or sentimental plots. During the Ming dynasty (1368–1644) the drama utilized the plots of popular novels. Until the 19th century, Chinese drama was not spoken; it was a mixture of music and declamation. Like the Sanskrit, Chinese drama avoids tragedy as that term is understood in the West. However, it is frequently infused with pathos, often involving the deaths of women.

   

   Although acting style, character types, stage properties, and other external features of Chinese drama are highly conventionalized, there is great narrative freedom in the plays themselves. Often they are replete with Confucian ethical precepts, propounded with rigid didacticism. Many of the plays, however, embody a Taoist mysticism that runs counter to Confucian influence. Chinese drama is more social and less concerned with romantic love than is the Sanskrit. Family and country are frequently regarded as of more importance than the individual.

   In contrast to the Sanskrit, Chinese drama was written for a popular audience, and dramatic performances took place in virtually every village. There are many Chinese plays extant, ranging in mood from pathos to farce. Among the masterpieces of Chinese drama are The Injustice Suffered by Tou F by Kuan Han-ch'ing, The Western Chamber by Wang Shi-fu, and The Orphan of the House of Chao by Chi Chun-hsaing (all 12th–15th cent.); The Peony Pavilion by T'ang Hsien-tsu (16th cent.); and The Palace of Long Life by Hung Sheng (17th cent.).

   In the West, Chinese drama has traditionally been regarded as an entertainment rather than a serious art form. There are several reasons for this judgment: first, the formlessness of Chinese plays, as, for example, Hung Sheng's Palace of Eternal Youth (1688), a play in 49 scenes without any act divisions; second, the spectacular nature of Chinese drama, which relies heavily on music, song, acrobatics, mimicry, and costuming; and third, the preponderance of stock characters, such as the comic drunk.

  

   In Chinese drama no attempt is made at realism; props and scenery are symbolic (for instance, a flag represents an army); the property man is present on stage; characters at times directly address the audience. Often only parts of plays are performed, or scenes are performed in arbitrary sequence. Since the early 19th century, the Beijing opera has been the dominant force in the Chinese theater. After World War I a realistic, spoken drama, patterned after Western plays, developed, but after the establishment of the People's Republic of China in 1949 the theater (except on Taiwan) devoted itself to political propaganda until the 1990s.

The Legend of Chinese New Year’s Eve

Characters:

Monster who likes to eat people, especially on Chinese New Year’s Eve.

Old lady A whose husband and children were eaten by the monster.

Old lady B who comes to help old lady A to fight with the monster.

Neighbors C、D、E

——————————————————————————–

Scene I

SETTING: C、D、E and old lady A are in the village.

AT RISE: C、D、E are talking to one another.

C: Tomorrow is Chinese New Year’s Eve.

D: Oh, my god！ It’s Chinese New Year’s Eve again.

E: We must run away today or we will be eaten by the terrible monster.

C: Yes, I remember it comes to the village every year.

D: And eat all the people.

E: That’s terrible！Old lady A’s husband and children were eaten by the monster last year.

C: Oh, that poor lady who lost her family. She must be very sad.

D: We must tell her to run away with us.

E: Yes, don’t let the tragedy happen again.

CDE: (Run to the old lady A’s home) Old lady, Old lady, you must run away with us now.

C: Yes, take your baggage and go with us.

D: Hurry up, we have no time to waste.

A: No, I want to stay here.

E: Why？

A: I want to fight with the monster！It killed my family. I need to take revenge on it.

C: No, No, No, it’s not safe.

D: You won’t win by yourself！

E: And you will be eaten, too.

CDE: You must go with us！！

A: I’m too old, and I don’t want to keep living without my family. I must kill it before I die.

CDE: You are a crazy woman. Just suit yourself. (C, D, E run away)

——————————————————————————–

Scene II

SETTING: old lady B is at Old lady A’s home

AT RISE: Old lady A is cooking dumplings. Old lady B is knocking at the door.

B: Anyone home？

A: (Opens the door) What are you doing here？You must run away with the other neighbors or you will be eaten by the monster.

B: I’m too hungry to run. Can you please give me something to eat？

A: All right, all right.

B: (Eating dumplings) Why don’t you run away like everyone else？

A: I want to kill the monster because it ate my husband and children.

B: But it is too difficult.

A: I don’t care.

B: Do you have any method to deal with it？

A: Um, I don’t know.

B: In order to thank you for giving me this food, I can teach you how to kill the monster.

A: Really？How？

B: Well, I know the monster is afraid of the color red and loud noise. So we can stick some red papers on the door and make loud noise to frighten it away.

A: So what are we waiting for？Let’s do it now.

B: You are right！It’s getting darker and darker outside.

——————————————————————————–

Scene III

SETTNG: Outside A’s home.

AT RISE: The monster shows up in front of A’s home.

Monster: Ha！Ha！Ha！After one year of sleeping, I’m very hungry now. It’s time for me to eat a lot of people. Ha！Ha！Ha！It’s too bad that everybody runs away. Oh, there is a light in that house, there must be people in it. (Knocking on the door.) Anybody home？ I won’t hurt you, just open the door. (When it sees the red paper on the door.) Oh, my god, it’s the color red, I’m afraid of it. Stay away from me.

AB: (Opens the door, and they are wearing red clothes) You bad monster. Now it’s your turn to feel afraid. (They beat drums and strike gongs.)

Monster: Oh, my god~ I can’t take it anymore. Please forgive me.

A:You ate all my family. How can I forgive you？

Monster: I’m sorry. I will do anything you say if you only let me go.

B: I think the monster feels very sorry now.

Monster: Yes, Yes, I ‘m so sorry.

A: Well, if you go away and never come back, I will forgive you.

B: Yes, and never eat people anymore.

Monster: OK, I promise you I will never eat people and never come here again. (They stop beating drums and striking gongs. The monster runs away and never comes back anymore.)

——————————————————————————–

Scene IV

SETTING: In the village.

AT RISE: A、B、C、D、E are talking.

C: How did you do it？

A: B told me the monster is afraid of the color red and loud noises.

D: Wow！How do you know this？(To B)

B: Actually, I’m a fairy. I’m here to help you fight the monster.

E: Oh, thank you. You really did us a big favor.

B: You’re welcome. Now you don’t have to be afraid of this monster anymore. (Everyone is happy and clapping their hands.)

The Early Plays 

Early dramas combined mime, stylised movement and a chorus. The chorus described the action which was enacted by dancer-actors. A play called Daimian (tai-mien) or Mask tells about a prince whose features were so soft that he was obliged to wear a terrifying mask in battle in order to scare the enemy. Later, in the Tang (T’ang) (618–907) period the play also found its way to Japan.

A play called Tayao niang (t’a-yao niang) or The Dancing, Singing Wife comes from the 6^th century AD and is a story about domestic violence. The husband is a drunkard, who beats his poor wife. Finally, however, he is punished for his misbehaviour. From Central Asia or even from India originates a dance play called Botou (Po-t’ou) or Head for head. It is about a youth whose father was killed by a tiger. The youth, in a white mourning costume, wanders a long way over the hills and through the valleys in search for the killer tiger. During his wanderings he sings eight songs and is finally able to avenge his father’s fate.

The play scripts of those early dance plays, which also seem to combine sung passages, are now known mainly through sources from the Tang period (618–907). Studying them is a kind of detective work where textual sources are used side by side with visual ones. Possibly some of the characteristics of later Chinese operas can be traced back to these early plays.

The fighting scenes appear to originate in the early martial arts systems, whereas the female movement vocabulary of later operas has retained the use of the long sleeves which dominate the female dancing tomb figurines. Even some of the themes of the early plays have continued to be essential for countless later operas, such as filial piety and other themes related to the feudal, ethical codes.

As has already been mentioned, speculation about how the early plays were actually performed is based on textual and visual sources. No archaic theatrical forms exist anymore in China, where the communist regime consistently destroyed forms of culture that were regarded as feudalistic. If one would like to get an idea of the early Chinese forms of performance, one should, perhaps, turn to the neighbouring cultures of Korea and Japan, which have preserved traditions from early periods when they had close contacts with imperial China and were profoundly influenced by it.

CHINA HISTORY

The earliest recorded human settlements in what is today called China were discovered in the Huang He basin and date from about 5000 B.C. During the Shang dynasty (1500–1000 B.C. ), the precursor of modern China's ideographic writing system developed, allowing the emerging feudal states of the era to achieve an advanced stage of civilization, rivaling in sophistication any society found at the time in Europe, the Middle East, or the Americas. It was following this initial flourishing of civilization, in a period known as the Chou dynasty (1122–249 B.C. ), that Lao-tse, Confucius, Mo Ti, and Mencius laid the foundation of Chinese philosophical thought.

The feudal states, often at war with one another, were first united under Emperor Ch'in Shih Huang Ti, during whose reign (246–210 B.C. ) work was begun on the Great Wall of China, a monumental bulwark against invasion from the West. Although the Great Wall symbolized China's desire to protect itself from the outside world, under the Han dynasty (206 B.C.–A.D. 220), the civilization conducted extensive commercial trading with the West.

In the T'ang dynasty (618–907)—often called the golden age of Chinese history—painting, sculpture, and poetry flourished, and woodblock printing, which enabled the mass production of books, made its earliest known appearance. The Mings, last of the native rulers (1368–1644), overthrew the Mongol, or Yuan, dynasty (1271–1368) established by Kublai Khan. The Mings in turn were overthrown in 1644 by invaders from the north, the Manchus.