中国文化英语教程》的第230-234页
Unit 8 Peking Opera: Artistry of Performers
伊山寺The Delights of Peking Opera Masks
胳膊怎么读
China’s Peking Opera radiates with the beauty of resplendent color – vivid, inten and glamorous. This artistic beauty comes not only from the costumes but also from the masks of exaggerated, dazzling designs, gleaming with red, purples, whites, yellows, blacks, blues, greens, every diver color imaginable.
Masks, applied to the two roles of the “jing” or “painted-face role” and the “chou”or “clown”, rve two purpos. One is to indicate the identity and character of the role. For example, a “red face” means the person is loyal and brave; a “black face” signifies the person is straightforward; and “a white face” identifies the person as crafty and evil. The other purpo is to express people’s appraisal of the roles from a moral and aesthetic point of view, such as respectable, hateful, noble, ridiculous, etc.
五花茶配方Peking Opera Performance: Sing, Speak, Act, and Fight
体育核心期刊
The performance of a Peking Opera actor can be summarized into four basic aspects, of singing, speaking, acting, and fighting, the core of which is a combination of song and choreography.
Singing is of utmost importance in the performance of Peking Opera, becau first of all, Peking Opera is a singing art. Any famous Peking Opera boasts veral wonderful arias that are well-known and popular with audiences. The charm of the melodies usually embodies the sublime realm of the art of Peking Opera. Unable to appreciate the magic of Peking Opera arias, one would fail to enjoy the profound beauty of the art itlf.
基数词英语Speaking refers to character mono logs and day logs, which rve to propel the development of the story. Speaking, like singing, needs to be executed in an appealing way.
高铁上可以带白酒吗
Acting and fighting mean that actors employ physical movements to express the emotion
s of the characters and the circumstances. Acting includes body movements and eye movements, solo dancing or group dancing, etc. Most of the dancing is choreographed movements from everyday life. Fighting is choreographed martial arts and acrobatics to depict fight or battle scenes. As the art of Peking Opera depends on movement to depict events, actors are given much room to perform on the the opera Picking up the Jade Bracelet, the young woman Sun Yujiao and the young scholar fall in love with each other, their eyes affixed on each other as if a thread connected them. Then, as Matchmaker Liu us her pipe to pull the “virtual” line up and down, the young couple’s eyes accordingly move up and down. The actions produce great humor and add much significance to the performance. Acting and fighting rve the whole “play” or the “world of images”, but at the same time they are themlves a beautiful art in both form and skill. For example, in King Chu Bids Farewell to His Concubine, artist Mei Lanfang performed a sword dance in a miraculously skillful way, which became very popular with audiences. This is a type of beauty in form. As for the beauty of skill, this usually includes some very difficult acrobatic movements, often referred to as “superb skills”.
The uniqueness of performances in Peking Opera lies in the fact that the singing, speaking, acting, and fighting, all focus on one or two actors in the play.
The performers ud to be called “jue’er”, hence “mingjue” was ud to refer to famous actors or actress. In this n, the world of imagery created in Peking Opera mainly relies on the singing, speaking, acting, and fighting of actors, especially in the performance of the famous plays. This is the biggest difference between Peking Opera and other forms of performing arts in terms of aesthetic appreciation. And the remark – “Peking Opera is the art of performers” – well describes its quintesnce.
The Beauty of a “Visual World”
Depicting a “visual world” is a distinctive feature of Peking Opera. Its virtually consists of two aspects: one is virtual movements, and the other virtual ttings. Virtual movement refers to imitating actions onstage. For example, riding a hor. Onstage, an actor cannot ride a real hor, but can only hold a whip and imitate the movement of galloping by walking around the stage, turning the body, wielding the whip, and pulling the reins. A virt
ual tting means creating an imagined environment onstage. For example, rowing a boat. As there is no water or boat on the stage, an actor usually takes an oar and, through actions, makes the audience “e” the rowing of a boat on water.考研准考证打印>兼职协议
One is At the Crossroad. This opera describes the story of two yamen runners escorting Jiao Zan to prison. On the way they stay at an inn for the night. Ren Tanghui, who task is to protect Jiao Zan, checks in at the same time. The owner of the inn, however, suspects Ren Tanghui is planning to murder Jiao Zan, so he gropes his way into Ren’s room at night. Thus a fight starts. What is special about the performance is that, although the fight happens at night, the stage is brightly lit; yet the audience is able to n it is a pitch-dark night from the actors’ performances, which feature stealthy movements typical of people in darkness. Sometimes, one man’ s sword swishes down, only a few inches away from the other’ s face, yet the latter feels nothing, thus producing a breathtaking yet meaningful and humorous effect.
