京剧是中国戏曲中很有内容
的一种。从“戏”字说起，
中国的戏曲不只是一个娱
乐问题，也是一个教育问题，应当说它从内容上讲一直是在表扬好事。这个“戏”字，原来是“戯”，虚戈，拿着假枪，实际说的是重要的内容，这就是戏。“曲”就是唱，需要用嗓子把它唱出来。为什么需要唱出来？是因为我们的语言非常复杂，从音节上说200多个，每一个字又可以分作“平上去入”四声，有不同的念法，也有不同的含义。所以，这就构成了一种音乐的美。中国的戏曲把形象和音乐的美结合在一起，表现出中国戏曲的特点。
京剧形成得比较晚，是许多剧种结合形成的一种戏。大概200年前，安徽有几个剧种、有几个戏班很好，都到北京来演出，就叫做“四大徽班进北京”。到北京以后，经过一番加工，更多的人看了以后，非常高兴，形成了戏剧，就叫京剧了。它的发音有时会有吴越的音，
有河南的音，还有北京的音，都融合在
一起。所以，它融合很广，在各个剧种
里容纳力比较广，有很强的代表性。
kuno
京剧里的角色，有生旦净丑。男性复旦附中
叫“生”，女性叫“旦”。什么叫“旦”？
在很早之前，女性角色不能由女演员演，
要由男演员演。男演员一演，大家都看
得清楚，粗胳膊、大腿，不像女人，就
改成晚上演，说反话就说是白天演，“旦”
就是白天的意思。“净”也是说反话，“净”
说的就是花脸，脸上画了好多很粗犷的
画。“丑”也不是丑陋，它是说他演的
这个角色和一般的角色不一样，特别是
在中国的戏曲里，很有意思，他到底算
个什么人物，很难说。有真的，也有假的；
也有认真的，也有开玩笑的。
京剧的表演，用形象表演，也有用
声音表演的，用武打来进行表演的等等。
比方说“指”这个动作，我们平时怎么
指都行，但是在戏里有特定的指法。唱
“生”的指，要把两个手指头并在一起。
唱“旦”的则要把手抓住中间的指头，
Glamour of
Peking Opera
主讲人/ Speaker
欧阳中石
Ouyang Zhongshi
中国艺术研究院戏曲方向
博士生导师
Doctoral Supervisor in Chine
traditional opera direction
at Chine National Academy of Arts 的room是什么意思
魅
力
中国的戏曲把形象
和音乐的美结合在
一起，表现出中国
戏曲的特点。
食指伸直了，胳膊也要伸直了，充分地发挥它细长的女性美，尤其是小指再一翘就让人感到很美。
京剧在表演上有一套固定的程序。演员要出场，不能拉幕，要走到台前来，要从形象上给你一种姿态，告诉你我是什么。袖子怎么整理，文人怎么样，武人怎么样，都有做法，多么正经，多么文雅，多么雄壮，身段都表现出来了。然后规规矩矩地说一句话，把剧情都表示一下，这叫做引子。引子没有音乐伴奏，只有鼓在伴奏，鼓随时结合着你的动作来表示。比方有一出戏，叫做《骂曹》，祢衡骂一骂曹操，这句话就是表示我怎么看曹操，我是个什么人物，我来表示我对他怎么
看，整个这
一出戏就
是关于
这个内容。念完了，回过头来坐下，再念一
首诗，什么诗？叫定场诗。大家都安静
安静，我还没有演到戏剧的内容呢，我
先告诉你这个祢衡是个什么人物。这是
一种戏曲上的形式，都有这么一个过程，
向大家交代清楚我是一个什么人，然后
再进入戏曲之中。对观众来说，是一种
一步一步到戏剧之中的过程。这是我们
戏剧上特有的手段。
京剧的表演有唱和念两种，“唱”基
本上都有胡琴在伴奏，念就是话白，不
唱。所以，一个演员就讲究如何表演、
如何唱、如何念。举一个例子，关羽、
soa是什么
张飞都死了以后，刘备感到很孤单，他
对两个兄弟的死、他的事业、他的感情，
感觉创伤太重了，需要抒发。他又不
能哭哭啼啼，于是就用唱的声音表
示他对他们的怀念。他唱着唱
着，“孤的好
兄弟”，曲调不是哭，可是你听，好
像一层一层地哭下去。曲曲折折，
一个“的”字，唱了好长时间，唱
上去，再落下来，再辗转起来，为
了抒发他的感情。欢乐也一样，用唱，
用念白，充分地表现戏曲中人物的
感情。京剧用唱、念、坐、打种种
艺术方式把感情表达出来，让更多
的观众能够理解。
在我们中国的社会，在上古的时
候，对演出、演员从来不重视，认为
演员不是正当的职业，演员子女都不
能进考场去考举人、考秀才、考状
元。可是非常多的人喜欢，特别是宫
廷里边好多皇家子弟也喜欢上了，没
事也唱两句，就连皇上自个儿也喜欢
了，喜欢是挡不住的。到了现代，好
bottom
多中国人在国外被
认为不能唱“二
黄”（指京剧
中“黄冈”“黄
陂”两种腔
调）就不够
一个中国人
四川大学 分数线
的资格。
female characters dàn. What does
dàn mean? A long time ago, women were not allowed on stage, so female characters had to be play
ed by men. When they went on the stage, with thick and strong arms and legs, it was clear that they were not women. So they had to perform in the evening. The antithesis of performing in the evening is performing in daytime, and daytime in literary Chine is
dàn. That is how female roles got the name dàn. The term jìng ‘clean’ is also the result of antithesis, becau the characteristic of jìng characters is that their faces are painted with patterns of bold colours, which are anything but clean. Chǒu ‘ugly’ does not mean ugly either. In fact the role of chǒu in Chine opera is special and hard to define. Sometimes it is realistic and rious, sometimes unre-alistic and clown-like. Performances of Peking opera compri of visual, vocal, acrobatic elements, etc. Take the act of point-ing for instance. In everyday life we can point in any way we like, but
bearing是什么意思in Peking opera there are stylid ways of pointing. A shēng character points by sticking out the index and middle fingers together. Yet a dàn character points by touching the middle finger with the thumb and sticking out the index finger while keeping the arm straight to convey the feminine beauty of being slen-der, especially while sticking out the little finger.
There is a t of routines in Peking opera performance. When
a player goes on stage, the curtain
is not raid. Instead he or she walks onto the stage and stands in
a certain posture to show the audi-ence what role he or she is playing. There are certain ways to prent onelf as a scholar or a warrior, like how to tidy up the sleeves. The riousness, or elegance, or strength of the character is fully revealed through the movement of the body. Then the player utters a line in an Chine operas and ballads feature a combination of music and image that is beautiful and unique.
C hine operas and ballads,
with Peking opera as a
typical example, are rich
in content. Apart from entertaining people, they have always had a didactic function, eulogizing various good deeds. The Chine character for ‘opera’ is 戏xì, which was originally written as 戯, consist-ing of虚xū ‘fal; fake’ and戈gĕ, a pictograph originally written as rep-renting a weapon with a long shaft. So戏xì literally means ‘performing with a fake weapon’ to tell important stories. The
character曲qu means ‘singing’. Why is it necessary to sing out the story? Becau our language is complex – there are over 200 syllables and each of them has four tones, píng ‘level’, sh a ng ‘fall-ri’, qù ‘fall’ and rù ‘entering’ – with dif-ferent tones carrying different mean-ings, like a beautiful piece of music. Chine operas and ballads feature a combination of music and image that is beautiful and unique. Peking opera, a relative newcomer, is actually a hybrid of many regional Chine operas. About 200 years ago, veral excellent theatrical troupes
of different local operas in Anhui came to Beijing to perform, which was referred to as ‘four major Hui troupes entering Beijing’. They made quite a number of adaptations and improvements in their performances to cater for the taste of a broader audience. This new form of opera became hugely popular in Beijing and won the name Peking opera, for in the Wade-Giles system of Chine phonetic spelling Beijing ud to be spelled Peking. Peking opera is a fu-sion of accents, featuring Wu (cen-tring around prent-day Suzhou), Henan and Beijing dialects. As it has incorporated elements from a broad spectrum of other operas, it is noted for its inclusiveness and is an excel-lent reprentative of Chine operas. There are different roles in Peking opera, like shēng, dàn, jìng, chǒu. Male characters are called shēng,
appropriate manner to disclo the plot, which is called yǐnzi ‘prologue’. The prologue does not have
a mu-sic accompaniment except for the drum, who beat accompanies the movement of the player. In the play Ma Cao ‘Calling Cao Cao Names’, for example, the lead character Mi Heng makes abusive remarks in his prologue about Cao Cao, a warlord in the Three Kingdoms period (AD 220-280), indicating what he thinks of Cao and what kind of person he himlf is. That is basically the main plot of the whole play. After the pro-logue, the actor would turn around, sit down, and read out a poem -
dìng chǎng shī ‘an audience silencing poem’ - to make the audience quiet down and introduce the character Mi Heng, before the play starts. To introduce the character first and then move into the play proper is a step-by-step routine peculiar to Chine operas.
The vocal part of a Peking opera performance takes two forms: chàng ‘singing’ and niàn ‘singsong’. Sing-ing is usually accompanied by the huqin, a two-stringed musical instru-ment, while singsong takes the form of either a rhythmic monologue or dialogue, but not t to a tune. The artistic skill of a player is therefore evident in his acting, singing and singsong abilities. In one of the Three-Kingdom plays, for example, after Guan Yu and Zhang Fei died, their big brother Liu Bei felt very lonely. Devastated by the loss of his two sworn brothers and by the t-back of his ambition to unify China, he desperately needs to express his feelings, yet he cannot do so by simply weeping and sobbing, s
o he reminisces by singing. As he sings “my good brothers”, you get the feeling that, although he is singing a song rather than simply crying, the tune sounds like crying, with twists and turns and ris and falls. The singing of the word de in “gū de hǎo xiōngdi” lasts quite a while, first ris-ing up in pitch, then falling down, and rising again, all to achieve the effect of catharsis. The same is true when happiness is expresd through singing and singsong, giving full play to the expres-sion of the characters’
feelings in the play. Put simply, Peking opera express the emotions
of characters through singing, singsong,
acting and acro-
batic fighting so
that they can be
understood by a
wide audience.
In ancient
China, people did
not think much of
yasminacting and actors,
regarding acting as
not being a proper profession. The
children of actors
were not allowed to
take the qualifying examination at the
county or prefecture
level to become a
xiucai, or taking the
imperial examination
held at provincial
capitals to become a
少年向上真善美伴我行juren, let alone taking
the final examination
at the imperial court to
become a zhuangyuan
‘the national champion’.
But a great many people, including the royal fam-
ily living in the imperial court, loved operas, where
英语男孩名字
they would sing a tune of
two at their leisure. Even some
of the emperors took a liking
to it, showing that Peking opera was irresistible. In modern times, an overas Chine who cannot sing erhuang ‘the Huanggang and Huangpi tunes of Peking opera’ is often considered not a proper Chi-ne person.
