Traditional Chinese theater. Grim mask in classical Chinese theater

The change of masks in traditional Sichuan opera in China, imperceptible even to the naked eye, is a subtle esoteric art. 45-year-old artist He Hong Qing is considered the fastest in China in the art of changing traditional masks. This technique originated in Sichuan opera 300 years ago and is intended to reflect changes in a character's mood. He Hong Qing has a worthy competitor - Wai Shuikwan from Hong Kong, he is able to change 58 silk masks in 5 minutes in a unique theatrical show Bian Lian. In China, the Bian Lian show is already more than just a show. This separate species art that originated in Sichuan Province. On stage, the actor puts on a large number of silk masks and quickly and skillfully changes them to the music. 61-year-old Wai Shuikwan has won numerous awards and public recognition. In 2008, he was included in the Chinese equivalent of the Guinness Book of Records, changing 58 silk masks in 5 minutes in a theatrical show. Now the master plans to increase the number of masks to hundreds. Vai's children say they won't even try to repeat their father's record. “My father constantly sets new goals for himself, it’s simply impossible to keep up with him. He starts with 20, then 30, then 50, 60, 80 masks. We won’t be able to catch up with him, it’s very difficult,” says Hathor Wai Fei-hung. Wai Shuikwan began studying Chinese opera at the age of 12. martial arts and acrobatics with the Guangxing Peking Opera Troupe, and later he learned the art of mask changing from a master from Sichuan. Now Shuikwang constantly performs both abroad and government events before the top officials of the country. The Bian Lian performance in China is considered a national treasure, and the mask changing technique is a state secret. To prevent this secret from being revealed, Wai Shuikwan does not allow anyone to observe the process; he only shows the very first and most final stage dressing up in his multi-layered suit. The virtuoso admits that the show is not without its tricks. Secret devices are hidden in the helmet, and the masks and suit are sewn to make changing faces as easy as possible. Traditionally, the secrets of art are passed down in the family from the older generation to the younger, and women are prohibited from studying it. It is believed that once they get married, they can pass on secrets to another family. Master Bian Lian can teach an outsider only in rare cases, therefore, according to Wai Shuikwan, he was incredibly lucky with his teacher. Vai himself decided to change old tradition and chose his daughter Hathor Vai Fei-hung as his successor. According to Vai, he wants to give new life this type of art and make it popular among the younger generation. “I decided to add new elements, such as Western music and movements. Hong Kong people and audiences around the world loved it and these elements freshen up the show. I also think it's better this way. I don’t think I will be criticized much for breaking from tradition,” says the actor. Vai's children also bring Western influences into art. The Daughter of Hathor uses songs by Michael Jackson, masks of Spider-Man and Doraemon, the hero of a popular Japanese cartoon, in the show. And Joe's son Wai Choi Hung added pantomime to his performance.

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Peking Opera (‹ћѕз jingju)
Beijing scene
History of masks
Masks (–К‹п mianju)
Change of masks (±dBi bianlian)
Singing
Literature

Peking Opera (‹ћѕз jingju)

Peking Opera is the most famous Chinese opera in the world. It was formed 200 years ago based on the local opera "Huidiao" of Anhui Province. In 1790, by imperial decree, the 4 largest opera troupes"huidiao" - Sanqing, Sisi, Chuntai and Hechun - to celebrate the 80th anniversary of Emperor Qianlong. The words of the Huidiao opera parts were so easy to understand by ear that the opera soon began to enjoy enormous popularity among the capital's audience. Over the next 50 years, Huidiao absorbed the best from other opera schools in the country: Beijing Jingqiang, Kunqiang from Jiangsu Province, Qinqiang from Shaanxi Province and many others, and eventually developed into what we have today We call it Peking Opera.

In 1935, the famous Chinese actor, master of disguise, famous for playing female roles, Mei Lanfang visited Soviet Union. In cordial conversations with the great figures of Russian theatrical art Stanislavsky, Nemirovich-Danchenko, Meyerhold and others, a deep and accurate assessment of the Chinese theater school. European playwrights specially came to the USSR to watch the performance of Mei Lanfan's troupe and exchange opinions and thoughts about Art. Since then, the Chinese theater acting system has gained recognition throughout the world. Prominent representatives of the three “big” theater systems (Russian, Western European and Chinese), having gathered together and exchanged experience, had a profound impact on further development theatrical business.

The name of Mei Lanfan and the Chinese "Beijing Opera" shocked the world and became one of the generally recognized symbols of beauty.

"Beijing Opera" is a fusion of all genres of theatrical art (opera, ballet, pantomime, tragedy and comedy). Due to the richness of the repertoire, the textbook plots, the skill of the actors and stage effects, she found the key to the hearts of the audience and aroused their interest and admiration. But the Beijing Opera Theater is not only a place for comfortable seating of spectators, but also a tea room, that is, during the performance you can still enjoy aromatic green tea with candied fruits. The indescribable acting of the actors, their complete transformation will make you completely transported to a fairy tale, Magic world"Beijing Opera"

The plays perfectly combine the work of playwrights of the Yuan and Ming dynasties (1279-1644) and elements circus art. The performance is based on the traditions of Chinese theater, unlike any other. The main features of traditional theater are freedom and relaxation.

In order to meet these requirements, the artist needs to know the basics of national acting, these are the “four skills” and “four techniques”.

The first four are singing, reciting, impersonating and gesturing; the second four are “playing with hands”, “playing with eyes”, “playing with the body” and “steps”.

Peking Opera scene

The stage in Peking Opera does not take up much space, and the decorations are very simple. The characters' characters are clearly distributed. Women's roles are called "dan", men's roles are called "sheng", comedy roles are called "chow", and the hero with various masks is called "jing".

Among male roles There are several roles: a young hero, an elderly man and a commander. Women's are divided into "qingyi" (the role of a young or middle-aged woman), "huadan" (the role of a young woman), "laodan" (the role of an elderly woman), "daomadan" (the role of a female warrior) and "wudan" (the role of a military woman). heroine). The Jing hero can wear the Tongchui, Jiazi and Wu masks. Comedy roles are divided into scientists and military men. These four characters are common to all schools of Peking Opera.

Makeup in Chinese opera (БіжЧ lianpu)

Another feature of Chinese opera house- makeup Each role has its own special makeup. Traditionally, makeup is created according to certain principles. It emphasizes the characteristics of a certain character - from it you can easily determine whether the actor is playing a positive or negative character, whether he is decent or a deceiver. In general, several types of makeup can be distinguished:

1. The red face symbolizes courage, honesty and loyalty. The typical red-faced character is Guan Yu, a general from the Three Kingdoms era (220-280) famous for his loyalty to Emperor Liu Bei.

2. Reddish-purple faces can also be seen on well-behaved and noble characters. Take, for example, Lian Po in the famous play “The General Makes Peace with the Chief Minister,” in which a proud and hot-tempered general quarreled, and then made peace with the minister.

3. Black faces indicate a bold, courageous and selfless character. Typical examples are General Zhang Fei in The Three Kingdoms, Li Kui in The Ponds, and Wao Gong, the fearless legendary and fair judge of the Song Dynasty.

4. Green faces indicate heroes who are stubborn, impulsive and completely lacking self-control.

5. As a rule, white faces are characteristic of powerful villains. White color also indicates everything negative sides human nature: deceit, deceit and treason. Typical white-faced characters are Cao Cao, the power-hungry and cruel minister of the Three Kingdoms, and Qing Hui, the cunning minister of the Song Dynasty who destroyed national hero Yue Fei.

All of the above roles belong to the category under the general name “jing” (the ampoule of a man with pronounced personal qualities). For comedy characters in classical theater there is a special type of makeup - “xiaohualian”. A small white spot on and around the nose indicates a close-minded and secretive character, such as Jiang Gan from Three Kingdoms, who fawned over Cao Cao. Also, similar makeup can be found on a witty and humorous servant boy or commoner, whose presence enlivens the whole performance. Another role is the acrobat jester “uchou”. Little spot on their nose also indicates the cunning and wit of the hero. Similar characters can be seen in the novel “River Backwaters”.

History of masks

The history of masks and makeup begins with the Song Dynasty (960-1279). The simplest examples of makeup have been discovered on frescoes in tombs of this era. During the Ming Dynasty (1368-1644), the art of makeup developed fruitfully: colors improved, new, more complex patterns appeared, which we can see in modern Peking opera. There are several different theories about the origin of makeup:

1. It is believed that primitive hunters painted their faces to scare away wild animals. Also in the past, robbers did this in order to intimidate the victim and remain unrecognized. Perhaps later makeup began to be used in the theater.

2. According to the second theory, the origin of makeup is associated with masks. During the reign of the Northern Qi dynasty (479-507), there was a magnificent commander Wang Lanling, but he Beautiful face did not instill fear in the hearts of the soldiers of his army. Therefore, he began to wear a terrifying mask during the battle. Having proved his formidability, he became more successful in battles. Later, songs were composed about his victories, and then a masked dance performance appeared, demonstrating the storming of the enemy fortress. Apparently, in the theater masks were replaced by makeup.

3. According to the third theory, makeup was used in traditional operas only because the performance was held in open areas for large quantity people who couldn’t easily see the actor’s facial expression from a distance.

Chinese masks are an integral part of world art. The first masks appeared in China during the Shang and Zhou dynasties, that is, about 3,500 years ago. They were the most important element of Chinese shamanism. Serving the deity who saved from the plague included dancing and singing by the spellcasters, which were unthinkable without masks. Even today, national minorities wear masks during religious rituals, weddings and funerals.

Chinese masks are mainly made of wood and worn on the face or head. Although there are many masks of demons, evil spirits and mythical animals, each one conveys a special meaning. Chinese masks can be divided into the following categories:

1. Masks of dancers-spellcasters. These masks are used during sacrifice ceremonies among small ethnic groups to ward off evil spirits and pray to deities.

2. Holiday masks. Similar masks are worn during holidays and celebrations. They are intended for prayers for longevity and a rich harvest. In many places, festive masks are worn during weddings.

3. Masks for newborns. They are used during a ceremony dedicated to the birth of a child.

4. Masks that protect your home. These masks, like the masks of spell dancers, are used to scare away evil spirits. As a rule, they are hung on the walls of the house.

5. Masks for theatrical performances. In the theaters of small nationalities, masks are the most important element with the help of which the image of the hero is created, therefore they have great artistic significance.

Witchcraft masks (ShРГжѕЯnuomianju). These unique masks are the result of the work of artisans in Guizhou Province. The masks are carved from wood and tree roots. Some masks are only a few centimeters high, while others reach two meters. The masks of the Miao people are a real pearl of Chinese folk art.

Initially, witchcraft masks appeared in central China. Once in Guizhou, the masks began to be popular with local shamans, who turned to the legendary Fu Xi and Nyu Wa in their fortune telling. The Chinese ruler Fu Xi taught people to fish, hunt, and raise cattle. And the goddess Nu Wa created people and repaired the firmament.

In ancient times, people believed that all troubles and misfortunes were the machinations of evil spirits and demons. Therefore, during fortune telling, they wore masks to appear larger and scare away evil forces. Ritual dances were also performed to ward off demons. Over time, the function of dancing became more entertaining than religious. And religious chants went beyond the boundaries of Taoist and Buddhist temples, becoming part of folk culture.

Long sleeves made of white silk (ђ…‘і shuixiu)

Long and predominantly white sleeves are often seen in traditional Chinese theater performances. As a rule, they reach a length of half a meter, but there are also specimens over 1 m. auditorium white silk sleeves look like flowing streams. Of course, even in ancient times people did not wear clothes with such long sleeves. On stage, long sleeves are a way to create an aesthetic effect. Waving such sleeves can distract the viewer's attention between games, convey the hero's feelings and add color to his portrait. If a hero throws his sleeves forward, it means he is angry. Shaking your sleeves symbolizes trembling with fear. If an actor throws his sleeves up to the sky, it means that an accident has just happened to his character. If one character waves his sleeves, as if trying to shake dirt off the suit of another, he is thus showing his respectful attitude. Changes in inner world the hero is reflected in the change of gestures. Long sleeve movements are among the basic skills of an actor in traditional Chinese theater.

Changing masks

Changing masks is a real trick in traditional Chinese theater. Thus, the change in the hero’s mood is displayed. When panic gives way to rage in the hero's heart, the actor must change his mask in a matter of seconds. This trick always delights the audience. Changing masks is most often used in Sichuan theater. In the opera “Severing the Bridge,” for example, the main character Xiao Qing notices the traitor Xu Xian, rage flares up in her heart, but suddenly it is replaced by a feeling of hatred. At this time, her beautiful snow-white face first turns red, then green, and then black. The actress must quickly change masks with every turn, which is only possible as a result of long training. Sometimes several layers of masks are used, which are torn off one after another.

chinese opera mask theater

Singing

Singing takes a lot important place at the Beijing Opera. Great importance here the sound itself has. The uniqueness of the performance and the mesmerizing sound is determined by a deep knowledge of phonology, singing techniques and the achievement of harmony between Yin and Yang. The song not only captivates with its content, but also evokes deep feelings in the listener. The artist first needs to get into someone else's skin, adopt the character and language of the character, then the master must outwardly become like him, hear and feel like him, become a close person to him. Very big role During the performance of the part, breathing is played; during singing, “change of breath”, “secret breathing”, “breathing” and other techniques are used. After its formation, Peking Opera became a rich collection of singing skills. Unusual use of the voice, timbre, breathing and other aspects are used to achieve the greatest stage effect. Although at first glance the singer is required to absolutely adhere to the canons of Chinese traditional performing arts, it is through them that the individual vision and talent of the artist is manifested.

Recitation in Peking Opera is a monologue and dialogue. Theater proverbs say: “sing for the vassal, recite for the master” or “sing well, speak great.” These proverbs emphasize the importance of delivering monologues and dialogues. Theater culture throughout history developed based on the totality of the requirements of high performing arts and acquired bright, pure Chinese characteristics. This is an unusual style and three types of recitation for various purposes- monologues in ancient and modern languages and rhyming dialogues.

Reincarnation is one of the forms of manifestation of “Gong Fu”.

It is accompanied by singing, recitation and gesticulation. These four elements are fundamental to the master's art. They run like a red thread from the beginning to the end of the performance. Acting also has various shapes. "High craftsmanship"shows strong, strong-willed characters; "close to life" - weak, imperfect. There is also the mastery of the "rhyming style" - the execution of relatively strict, smart movements in combination with rhythmic music, and the mastery of the "prosaic style" - the execution of free movements to the "loose" "music.

In the "rhyming style" the most important element is the dance. Dance skill can also be divided into two types.

The first type is song and dance. Artists simultaneously sing and dance to create pictures and scenery for us. For example, if a scene describes a night forest covered with snow and a traveler seeking shelter, then the artist, through the character’s aria and, at the same time, through the corresponding dance, paints this landscape and the character’s state in front of us (there are no decorations in “PO”).

The second type is pure dance. Artists only use dance moves to convey the mood and create a holistic picture of what is happening. Throughout the history of theater in China, folk dances have been staged. During the Ming Dynasty (1368-1644) often based on motifs folk dances small novel performances were created and performed.

Gestures are elements of acrobatics used during a performance. In Peking Opera there are characters that can only be imagined using acrobatic art. These are the so-called roles of “military hero”, “military heroine” and “female warrior”. All scenes brutal war The performances consist of acrobatic stunts, and there are even special “military plays.” When playing the “old man,” you can’t do without acrobatic techniques because the “old man” sometimes also needs to “wave his fists.” The art of gesturing is a "Gung Fu" that every character and therefore actor should possess.

In each part of the performance, the artist uses special ways of playing: “playing with his hands,” “playing with his eyes,” “playing with his body,” and “steps.” These are the “four skills” already mentioned above.

Playing with hands. Actors say: “You can determine the master by one movement of the hand,” therefore “playing with hands” is a very important element of theatrical performance. It includes the shape of the hands, their position and gestures. The shape of the hands is actually the shape of the palms. There are female and male forms. Women's have, for example, the following names: "Lotus fingers", "old woman's palm", "lotus fist", etc. Men's - " outstretched palm", "fingers-swords", "clenched fist". Also, the positions of the hands have very interesting names: “The foot of a lonely mountain”, “two supporting palms”, “supporting and meeting palms”. The names of the gestures also convey the nature of the game: “Cloud hands”, “flickering hands”, “quivering hands”, “raising hands”, “unfolding hands”, “pushing hands”, etc.

People often call the eyes the windows of the soul. There is a theatrical proverb: “The body is in the face, the face is in the eyes.” And one more: “If there is no spirit in the eyes, the person died inside his temple.” If during the game the actor’s eyes do not express anything, then he is lost life force. In order for the eyes to be alive, theater masters pay great attention to your inner state. This helps them feel the difference between concepts such as “look”, “look”, “aim”, “look closely”, “examine”, etc. To do this, the artist must get away from all vain thoughts, see in front of him, like an artist, only the nature of his character: “I saw a mountain - I became a mountain, I saw water - it flowed like water.”

Playing with the body involves different positions of the neck, shoulders, chest, back, lower back and buttocks. Minor change body position can be conveyed internal state character. Although this is a complex, but very important theatrical language. In order to master it properly, to move naturally and accurately, the artist must comply with certain laws of body position. Such as: straight neck, even shoulders; lower back straight, chest forward; belly tucked, buttocks squeezed. When, during movement, the lower back serves as the center of the whole body, then we can say that the whole body works in harmony. A proverb says this: “One movement or a hundred - it starts in the lower back.”

Steps. “Steps” refer to theatrical poses and movements around the stage. There are several basic poses and steps in Peking Opera. Postures: straight; letter "T"; "ma-bu" (legs spread apart, weight distributed evenly on both legs); "gun-bu" (body weight transferred to one leg); rider's pose; relaxed stance; "empty legs" Methods of steps: “cloudy”, “crushed”, “circular”, “dwarf”, “fast”, “crawling”, “spreading” and “mincing” (those who are familiar with wushu will find a lot in the names of steps and positions of the theater school common with the terminology adopted in Chinese martial art). Actors believe that steps and poses on stage are the foundation of the performance, acting as basic movements that carry the possibility of endless changes, which, in turn, are used by the master to convey his feelings to the viewer. Peking Opera stands on these eight pillars - “four ways of playing” and “four types of skill”. Although this, of course, is not all. After all, the foundation of the Peking Opera pyramid of art is laid deep in the culture of China. But the scope of the article does not allow us to fully experience the beauty and depth of this theatrical performance.

Literature

Morkovskaya, Lisa. Peking Opera Masks // Around the World. 2006. No. 8 (2791).

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Yuju(Henan opera), or Henan banzi, arose in the Qing era from local folk performances that absorbed elements of Shanxi opera and Puzhou banzi. This gave it a lively, simple, conversational character. Towards the end of the Qing dynasty, Henan opera spread to cities and, under the influence of Peking opera, became a developed genre popular in the provinces of Henan, Shaanxi, Shanxi, Hebei, Shandong and Anhui.

Yueju(Shaoxing opera) first took its own form in the late Qing era, based on the folk songs of Shengxian County, Zhejiang Province. Included vocal and stage elements from local operas. Later, influenced new drama and the ancient opera Kunqu, became popular in Shanghai, Jiangsu and Zhejiang provinces. The soft, melodic music of Shaoxing opera is most suitable for conveying tender feelings; the acting style is also graceful and sophisticated.

Qinqiang(Shaanxi opera) appeared in the Ming era (1368–1644). The singing here is loud and clear, the rattles beat out a clear rhythm, the movements are simple and energetic. The Qinqiang genre was widely popular in the late Ming and early Qing eras and influenced a number of other types of local opera. Now Shaanxi opera attracts many spectators in the provinces of Shaanxi, Gansu and Qinghai; its traditional repertoire includes over 2 thousand works.

Kunqu(Kunshan opera) originated in Kunshan County, Jiangsu Province, at the end of the Yuan Dynasty (1271–1368) - the beginning of the Ming. Kunqu has soft and clear vocals, her melodies are beautiful and sophisticated, reminiscent of dance music. This genre has had a huge influence on other types of opera. Around the middle of the Ming, it spread to the north of the country and gradually developed into a more energetic, severe type of opera called "northern". By the end of the 17th century, kunqu opera had conquered the capital's public and the emperor's court and gradually lost the mass audience, turning into an aristocratic art form.

Chuanju(Sichuan opera) is popular in Sichuan, Guizhou and Yunnan provinces. It is the main form of local theater in southwestern China. It developed around the middle of the Qing era based on a combination of such local opera forms as kunqu, gaoqiang, huqin, tanxi idengshi. Her most characteristic feature is her singing. in a high voice. The repertoire is very rich, including more than 2 thousand works. The texts are distinguished by high artistic value and humor. The movements are detailed and very expressive.

Hanju(Hubei Opera) is an old theatrical form that originated in Hubei Province. It has a history of more than three hundred years and greatly influenced the formation of Peking, Sichuan and Henan operas. Very rich vocally, has over 400 melodies. The repertoire is also very wide. The Hanju genre is popular in the provinces of Hubei, Henan, Shaanxi and Hunan.

Yueju(Guangzhou opera) appeared in the Qing era under the influence of kunqu and yangqiang (another ancient type of opera). Later it absorbed elements of Anhui and Hubei operas and folk melodies of Guangdong Province. Thanks to the rich composition of the orchestra, melodic diversity and great ability to renew, it quickly became the main theatrical form in the provinces of Guangdong and Guangxi, as well as among the Chinese of Southeast Asia and America.

Chaoju(Chaozhou opera) dates back to the mid-Ming era and retains elements of the Song (960–1279) and Yuan Nanxi “southern dramas” that originated in the provinces of Jiangsu and Zhejiang. The vocal style is rich and colorful. The Chaoju genre makes extensive use of acrobatics, clownery, all kinds of dance movements, gestures, and plastic arts. Attracts many viewers in the Chaozhou-Shantou region of Guangdong Province, the southern parts of Fuijian Province and the Chinese communities of Southeast Asia.

Tibetan opera based on Tibetan folk songs and dancing, arose at the end of the 14th century and turned into opera genre in the 17th century. Popular in Tibetan communities in Tibet, Sichuan, Qinghai and Southern Gansu. Its libretto is based mainly on folk ballads, the melodies are fixed. In Tibetan opera they sing loudly, in high voices, and the choir sings along with the soloists. Some characters wear masks. Tibetan opera is usually performed outdoors. Her traditional repertoire includes long works based on folk and Buddhist stories (for example, “Princess Wencheng”, “Princess Norsan”), or short comic skits with singing and dancing.

100 years ago in the village of Dongwan, Zhejiang Province, opera stage actresses performed for the first time Shaoxing opera. Gradually, it has evolved from one of the folk pop genres into a well-known form of local opera art in China. Shaoxing Opera draws on the Shengzhou dialect of Zhejiang Province and local folk melodies, while incorporating the best features of Peking Opera, local Kunqu Opera, theater craftsmanship and cinematography. The images presented during the performance on stage are tender and touching, the performance is lyrical and beautiful. She is distinguished by a gentle and lyrical style.

In the late 50s and early 60s of the 20th century, there were 367 types of local operas in China. Today there are 267 of them, and with some types of opera only one group performs. In other words, 100 types of local opera have already ceased to exist, and many are on the verge of extinction. In this regard, the task of preserving cultural heritage by perpetuating it on audio and video media is becoming increasingly urgent. This work, by the way, is important not only in terms of protecting cultural heritage, but also in terms of the continuation and development of the art of opera.

After the formation of new China, two large-scale campaigns were carried out in the country to rescue, preserve and systematize the art of opera. In the late 1950s and early 1960s, thousands of traditional operas were immortalized. Thanks to this work, the general state of the opera heritage in China became known. The second campaign took place in the 80s - 90s of the twentieth century, at which time “Notes on Chinese Opera” and “Collected Opera Melodies of China” were published.

Conclusion

2007 is the centenary year of the Chinese Drama Theatre.

Dramaturgy (huaju) appeared in China 100 years ago under the influence of foreign culture. Before this, drama in the Western sense was not familiar to the Chinese. Only Chinese traditional dramas, which are more of a musical than a spoken art form, were popular in the country.

In 1907, several Chinese students studying in Japan created the stage group "Chunliushe", which staged fragments of Dumas the Son's "Lady of the Camellias" on stages in Tokyo. In the same year, another stage group, Chunyangshe, was created in Shanghai. On Chinese stages, this group performed the play “Uncle Tom's Cabin” based on the book by the American writer H. Beecher Stowe. This is how theater in the European sense of the word appeared in China.

In the 20s of the 20th century, Chinese theater from abroad was influenced by realism and expressionism. In the 30s, Cao Yu created a trilogy - “Thunderstorm”, “Sunrise” and “Field”, which is still performed on the Chinese stage today.

After Mao Zedong and the Communist Party came to power, propaganda theaters began to appear everywhere and corresponding performances were staged. Therefore, traditional roles began to be replaced by new ones.

In 1952, the Beijing Folk Art Theater was created, staging realistic plays (for example, “Tea House” and “Longxugou Ditch”).

In the mid and late 80s of the twentieth century, drama received further development, reforms and searches were carried out to update the content and artistic form.

Today, dramaturgy is developing rapidly, as is traditional Chinese opera. In 2006, more than 40 plays premiered on Beijing stages. Most of them talk about real life ordinary Chinese, touches on the most important problems of Chinese society. Some directors have taken the path of combining traditional elements with modern ones. They immediately began to be called avant-garde directors. A representative of the avant-garde, for example, is director Meng Jinghui.

Bibliography

1. Borodycheva E.S. Chinese theater website "Secular Club"

Traditional Chinese theater

Peking Opera is the most famous Chinese opera in the world. It was formed 200 years ago based on the local opera "Huidiao" of Anhui Province. In 1790, by imperial decree, the 4 largest Huidiao opera troupes - Sanqing, Sixi, Chuntai and Hechun - were convened in Beijing to celebrate the 80th anniversary of Emperor Qianlong. The words of the Huidiao opera parts were so easy to understand by ear that the opera soon began to enjoy enormous popularity among the capital's audience. Over the next 50 years, Huidiao absorbed the best from other opera schools in the country: Beijing Jingqiang, Kunqiang from Jiangsu Province, Qinqiang from Shaanxi Province and many others, and eventually developed into what we have today We call it Peking Opera.

The stage in Peking Opera does not take up much space, and the scenery is very simple. The characters' characters are clearly distributed. Women's roles are called "dan", men's roles are called "sheng", comedy roles are called "chow", and the hero with various masks is called "jing". Among male roles, there are several roles: a young hero, an elderly man and a commander. Women's are divided into "qingyi" (the role of a young or middle-aged woman), "huadan" (the role of a young woman), "laodan" (the role of an elderly woman), "daomadan" (the role of a female warrior) and "wudan" (the role of a military woman). heroine). The Jing hero can wear the Tongchui, Jiazi and Wu masks. Comedy roles are divided into scientists and military men. These four characters are common to all schools of Peking Opera.

Another feature of the Chinese opera theater is makeup. Each role has its own special makeup. Traditionally, makeup is created according to certain principles. It emphasizes the characteristics of a certain character - from it you can easily determine whether the actor is playing a positive or negative character, whether he is decent or a deceiver. In general, several types of makeup can be distinguished:

1. The red face symbolizes courage, honesty and loyalty. The typical red-faced character is Guan Yu, a general from the Three Kingdoms era (220-280) famous for his loyalty to Emperor Liu Bei.

4. Green faces indicate heroes who are stubborn, impulsive and completely lacking self-control.

5. As a rule, white faces are characteristic of powerful villains. White color also indicates all the negative aspects of human nature: deceit, deceit and betrayal. Typical white-faced characters include Cao Cao, the power-hungry and cruel minister of the Three Kingdoms, and Qing Hui, the cunning Song Dynasty minister who killed the national hero Yue Fei.

All of the above roles belong to the category under the general name “jing” (the ampoule of a man with pronounced personal qualities). For comedy characters in classical theater there is a special type of makeup - “xiaohualian”. A small white spot on and around the nose indicates a close-minded and secretive character, such as Jiang Gan from Three Kingdoms, who fawned over Cao Cao. Also, similar makeup can be found on a witty and humorous servant boy or commoner, whose presence enlivens the whole performance. Another role is the acrobat jester “uchou”. A small spot on their nose also indicates the hero's cunning and wit. Similar characters can be seen in the novel “River Backwaters”.

2. According to the second theory, the origin of makeup is associated with masks. During the reign of the Northern Qi Dynasty (479-507), there was a magnificent general, Wang Lanling, but his handsome face did not instill fear in the hearts of the soldiers of his army. Therefore, he began to wear a terrifying mask during the battle. Having proved his formidability, he became more successful in battles. Later, songs were composed about his victories, and then a masked dance performance appeared, demonstrating the storming of the enemy fortress. Apparently, in the theater masks were replaced by makeup.

3. According to the third theory, makeup was used in traditional operas only because the performance was held in open areas for a large number of people who could not easily see the actor’s facial expression from a distance.

1. Masks of dancers-spellcasters. These masks are used during sacrifice ceremonies among small ethnic groups to ward off evil spirits and pray to deities.

2. Holiday masks. Similar masks are worn during holidays and celebrations. They are intended for prayers for longevity and a rich harvest. In many places, festive masks are worn during weddings.

3. Masks for newborns. They are used during a ceremony dedicated to the birth of a child.

4. Masks that protect your home. These masks, like the masks of spell dancers, are used to scare away evil spirits. As a rule, they are hung on the walls of the house.

ENCYCLOPEDIA OF CHINA - Peking Opera, masks - Theater... Peking Opera is the most famous Chinese opera in the world. It was formed 200 years ago on the basis of the local opera “Huidyao” of the province... http://www.abirus.ru/content/564/623/625/645/655/859.html

These unique masks are the result of the work of artisans in Guizhou Province. The masks are carved from wood and tree roots. Some masks are only a few centimeters high, while others reach two meters. The masks of the Miao people are a real pearl of Chinese folk art.

Long and predominantly white sleeves are often seen in traditional Chinese theater performances. As a rule, they reach a length of half a meter, but there are also examples of more than 1 m. From the auditorium, the white silk sleeves look like flowing streams. Of course, even in ancient times people did not wear clothes with such long sleeves.

On stage, long sleeves are a way to create an aesthetic effect. Waving such sleeves can distract the viewer's attention between games, convey the hero's feelings and add color to his portrait. If a hero throws his sleeves forward, it means he is angry. Shaking your sleeves symbolizes trembling with fear. If an actor throws his sleeves up to the sky, it means that an accident has just happened to his character. If one character waves his sleeves, as if trying to shake dirt off the suit of another, he is thus showing his respect. Changes in the hero's inner world are reflected in changes in gestures. Long sleeve movements are among the basic skills of an actor in traditional Chinese theater.

The meaning of the masks used in Chinese opera may be a mystery to outsiders, but the choice of mask color is not at all random. What's the secret? Learn about the meanings expressed by the colors of the masks.

The meaning of the masks used in Chinese opera may be a mystery to outsiders, but to Chinese opera lovers who are familiar with Chinese art, just one glance is enough - and they can easily determine the character and even the role that the hero will play in the opera. Photo: Alcuin/Flickr

Black

Oddly enough, the color black in Peking opera means skin color, this is due to the fact that the high-ranking official Bao had black skin (Bao Zheng - an outstanding scientist and statesman of the Song Dynasty, 999-1062 AD). That's why the mask was also black. It received wide recognition among the people, and the color black became a symbol of justice and impartiality. Initially, a black mask in combination with flesh-colored skin signified gallantry and sincerity. Over time, the black mask began to mean courage and honesty, directness and determination.

Red

Characteristics of the color red are qualities such as loyalty, courage and honesty. A mask with the presence of red color is usually used to play positive roles. Since the color red signifies courage, red masks depicted loyal and valiant soldiers and also represented various celestial beings.

White

In Chinese opera, white can be combined with either pale pink or beige. This mask is often used to represent a villain. In the history of the Three Kingdoms, the military leader and chancellor of the Eastern Han Dynasty was Cao Cao, who is a symbol of betrayal and suspicion. However, the white mask is also used to represent older heroes with white hair and complexion, such as generals, monks, eunuchs, etc.

Green

In Chinese opera, green masks are typically used to show brave, reckless and strong characters. The robbers who made themselves rulers were also depicted with green masks.

Blue

In Chinese opera, blue and green are identical colors and, when combined with black, represent rage and stubbornness. However, blue can also signify malice and cunning.

Violet

This color is between red and black and expresses a state of solemnity, openness and seriousness, and also demonstrates a sense of justice. The color purple is sometimes used to make the face look ugly.

Yellow

In Chinese opera, the color yellow can be regarded as an expression of courage, tenacity and ruthlessness. Yellow masks are also used for roles where a cruel and hot-tempered character is fully demonstrated. Silver and gold colors

In Chinese opera, these colors are used mainly for fantastic masks to show the power of supernatural beings, as well as various ghosts and ghosts that show cruelty and indifference. Sometimes golden masks are used to show the valor of generals and their high ranks.

Peking Opera

The history of the opening of theatrical stages in China goes back more than eight centuries. It went through the same stages of development as all theaters in the world. For example, in England, in the 16th century, there were two types of buildings: open-air theater and chamber halls. The first were called "public", the second - "private". In China, such theaters were “Gou-Dan” and “Chang-Hui”. At that time, the example of the forms of theatrical stages were relatively large free platforms without a roof, the so-called “dance platforms”, around which there were three-story covered corridors that made up the peripheral part of the theater. The entrance ticket cost the same for all classes; those who paid had the right to stand in the center of the site. If he wanted to sit down, he had to pay an additional fee to enter the corridor. In addition, in each corridor there was an aristocratic box. The rest of the spectators surrounded the performance area on three sides, which was located at an elevation of about 4-6 feet above the ground. Its design was very simple: a large, flat platform protruded in front, with doors behind on both sides. There was a second floor with windows above the stage, which was also used during the performance. Although theatrical performances and places for them all over the world were built according to general laws, however, due to differences in cultural and economic development, they had their own national characteristics. In Europe, during the Renaissance, there was a continuous development of theatrical art. Many theatrical and circus genres were born, various styles were formed. Opera and ballet, realism and symbolism are all the children of that era. Chinese theater actors at this time in open-air theaters diligently and with great dedication tempered their skills. And only at the end of the last century they began to experience the influence of the European theater school. Thus, the "Capital Classical Theater" of Professor Jou Huawu was created. He once said: “Just when Chinese actors selflessly and diligently sang, danced and recited in the open air, a special Eastern system of acting, unlike others, was formed.” In 1935, the famous Chinese actor, master of impersonation, famous for his performance of female roles, Mei Lanfang, visited the Soviet Union. In cordial conversations with the great figures of Russian theatrical art Stanislavsky, Nemirovich-Danchenko, Meyerhold and others, a deep and accurate assessment of the Chinese theater school was given. European playwrights specially came to the USSR to watch the performance of Mei Lanfan's troupe and exchange opinions and thoughts about Art. Since then, the Chinese theater acting system has gained recognition throughout the world. Prominent representatives of the three “big” theater systems (Russian, Western European and Chinese), having gathered together and exchanged experience, had a profound impact on the further development of the theater business. The name of Mei Lanfan and the Chinese "Beijing Opera" shocked the world and became one of the generally recognized symbols of beauty. "Beijing Opera" is a fusion of all genres of theatrical art (opera, ballet, pantomime, tragedy and comedy). Due to the richness of the repertoire, the textbook plots, the skill of the actors and stage effects, it found the key to the hearts of the audience and aroused their interest and admiration. But the Beijing Opera Theater is not only a place for comfortable seating of spectators, but also a tea room, that is, during the performance you can still enjoy aromatic green tea with candied fruits. The indescribable performance of the actors, their complete transformation will make you completely transported to the fabulous, magical world of Peking Opera. The plays perfectly combine the work of playwrights of the Yuan and Ming dynasties (1279-1644) and elements of circus art. The performance is based on the traditions of Chinese theater, unlike any other. The main features of traditional theater are freedom and relaxation. In order to meet these requirements, the artist needs to know the basics of national acting, these are the “four skills” and “four techniques”. The first four are singing, reciting, impersonating and gesturing; the second four are “playing with hands”, “playing with eyes”, “playing with the body” and “steps”. Singing occupies a very important place in Peking Opera. The sound itself is of great importance here. The uniqueness of the performance, the mesmerizing sound is determined by a deep knowledge of phonology, singing technique and the achievement of harmony of Yin and Yang. The song not only captivates with its content, but also evokes deep feelings in the listener. The artist first needs to get into someone else's skin, adopt the character and language of the character, then the master and outwardly must become like him, hear and feel like him, become a close person to him. Breathing plays a very important role in the performance of the part; during singing, “change of breath”, “secret breathing”, “breathing” and other techniques are used. After its formation, Peking Opera became a rich collection of singing skills. Unusual use of voice, timbre, breathing and other aspects are used to achieve the greatest stage effect. Although at first glance the singer is required to absolutely adhere to the canons of Chinese traditional performing art, it is through them that the individual vision and talent of the artist is manifested. Recitation in Peking Opera it is monologue and dialogue. Theater proverbs say: “sing for the vassal, recite for the master” or “sing well, speak great.” These proverbs emphasize the importance of delivering monologues and dialogues. Throughout history, theatrical culture has developed based on the totality of the requirements of high performing arts and acquired bright, purely Chinese characteristics. This is an unusual style and three types of recitation for different purposes - monologues in ancient and modern languages and rhymed dialogues. Reincarnation is one of the forms of manifestation of “Gong Fu”. It is accompanied by singing, recitation and gesticulation. These four elements are fundamental to the master's art. They run like a red thread from the beginning to the end of the performance. Acting also has different forms. “High skill” shows strong, strong-willed characters; “close to life” - weak, imperfect. There is also the mastery of the “rhyming style” - the performance of relatively strict, smart movements combined with rhythmic music, and the mastery of the “prosaic style” - the performance of free movements to “loose” music. In the "rhyming style" the most important element is the dance. Dance skill can also be divided into two types. The first type is song and dance. Artists simultaneously create pictures and scenery in front of us with song and dance. For example, if a scene describes a night forest covered with snow and a traveler seeking shelter, then the artist, through the character’s aria and, at the same time, through the corresponding dance, paints this landscape and the character’s state in front of us (there are no decorations in “PO”). The second type is pure dance. The artists use only dance movements to convey the mood and create a holistic picture of what is happening. Throughout the history of theater in China, folk dances have been staged. During the Ming Dynasty (1368-1644), small novel performances were often created and performed based on folk dance motifs. Gesticulation- these are elements of acrobatics used during the performance. In Peking Opera there are characters that can only be imagined using acrobatic art. These are the so-called roles of “military hero”, “military heroine” and “female warrior”. All scenes of brutal war in the performances are made up of acrobatic stunts, there are even special “war plays”. When playing the “old man,” you can’t do without acrobatic techniques because the “old man” sometimes also needs to “wave his fists.” The art of gesturing is a "Gung Fu" that every character and therefore actor should possess. In each part of the performance, the artist uses special ways of playing: “playing with his hands,” “playing with his eyes,” “playing with his body,” and “steps.” These are the “four skills” already mentioned above. Playing with hands. Actors say: “You can determine the master by one movement of the hand,” therefore “playing with hands” is a very important element of theatrical performance. It includes the shape of the hands, their position and gestures. The shape of the hands is actually the shape of the palms. There are female and male forms. For example, women's names have the following names: "Lotus fingers", "old woman's palm", "lotus fist", etc. Men's - "extended palm", "sword fingers", "clenched fist". Also, the positions of the hands have very interesting names: “The foot of a lonely mountain”, “two supporting palms”, “supporting and meeting palms”. The names of the gestures also convey the nature of the game: “Cloud hands”, “flickering hands”, “quivering hands”, "raising hands", "extending hands", "pushing hands", etc. Game with eyes. People often call the eyes the windows of the soul. There is a theatrical proverb: “The body is in the face, the face is in the eyes.” And one more: “If there is no spirit in the eyes, the person died inside his temple.” If during the game the actor’s eyes do not express anything, then the vitality is lost. In order for the eyes to be alive, theater masters pay great attention to their inner state. This helps them feel the difference between concepts such as “look”, “look”, “aim”, “look closely”, “examine”, etc. To do this, the artist must get away from all vain thoughts, see in front of him, like an artist, only the nature of his character: “I saw a mountain - I became a mountain, I saw water - it flowed like water.” Playing with the body involves different positions of the neck, shoulders, chest, back, lower back and buttocks. A slight change in the position of the torso can convey the internal state of the character. Although this is a complex, but very important theatrical language. In order to master it properly, to move naturally and accurately, the artist must comply with certain laws of body position. Such as: straight neck, even shoulders; lower back straight, chest forward; belly tucked, buttocks squeezed. When, during movement, the lower back serves as the center of the whole body, then we can say that the whole body works in harmony. A proverb says this: “One movement or a hundred - it starts in the lower back.” Steps. “Steps” refer to theatrical poses and movements around the stage. There are several basic poses and steps in Peking Opera. Postures: straight; letter "T"; "ma-bu" (legs spread apart, weight distributed evenly on both legs); "gun-bu" (body weight transferred to one leg); rider's pose; relaxed stance; "empty legs" Methods of steps: “cloudy”, “crushed”, “circular”, “dwarf”, “fast”, “crawling”, “spreading” and “mincing” (those who are familiar with wushu will find a lot in the names of steps and positions of the theater school common with the terminology adopted in Chinese martial art). Actors believe that steps and poses on stage are the foundation of the performance, acting as basic movements that carry the possibility of endless changes, which, in turn, are used by the master to convey his feelings to the viewer. Peking Opera stands on these eight pillars - “four ways of playing” and “four types of skill”. Although this, of course, is not all. After all, the foundation of the Peking Opera pyramid of art is laid deep in the culture of China. But the scope of the article does not allow us to fully experience the beauty and depth of this theatrical performance. To do this you need to “see it once”

theatrical masks, ~ ritual masks, ~ carnival masks

Masque Le masque représente le plus souvent une partie de tête humaine ou animale terminée par des plumes ou des feuilles.

Masqué Se dit d"un animal qui a la tête couverte d"un capuchon. 1772 Se dit d"un lion qui a un masque. 1780 Se dit d"un lion qui a un masque. 1864 Se dit d"un lion qui a un masque. 1887 Se dit d"un animal qui a la tête couverte d"un capuchon.

A mask can have both unifying (masking) and identifying meanings.

In many cultures, including non-literate ones, masks express the presence of supernatural beings (spirits, demons, gods). Wearing a mask is a way of identifying with what it embodies: the wearer of the mask feels internally transformed, temporarily acquiring the qualities of the creature represented by the mask. Thus, ancient masks depicting animals served as a means of coming into contact with the spirit of the animal that was being hunted, and protection from its attack.

Later totem masks allow tribe members to identify themselves with spirits and ancestors. A deity mask is a container or habitat of a deity or ancestor, endowed with mystical power, considered as an effective means of protection (to scare away enemies, expel demons, illness or spirits of death) and communication with ancestors and/or gods. By wearing masks during ceremonies or ritual dances, their wearers manifested the presence of the depicted creature. In primitive cultures, such identification was complete (the animal mask had the same property as the skin in which the magician dressed himself): the one who wears the mask is the one whose mask he puts on.

Masks were often “absolutized” and regarded as independent objects of cult. The connection of masks with the world of powerful beings gives it an apotropaic meaning. The practice of using masks as a means of driving away evil spirits is widespread.

Endowed with magical properties, the warlike mask provides invulnerability and gives supernatural power; She turns a mere mortal into a hero. This is confirmed by the modern military uniform, which guarantees the one who wears it a special position in society.

Masks or head bags are used in African, Native American and Oceanic rites of passage, marking the transition from childhood to adulthood.

Funeral masks, which convey the appearance of the deceased, are widely used as a means of preserving the facial features of the deceased and ensuring the return of souls to their bodies - an idea that was especially preoccupied with the Egyptians and some other peoples. The destruction of the appearance of the deceased condemns the latter to eternal wanderings.

Being associated with transfiguration and transformation, it serves as a means of hiding transformation, which should be hidden from view. This intimacy helps “what-is” become “what-would-like-to-be”; in this sense, the mask is similar to a butterfly pupa.

The meaning put into the mask is expressed through its facial expressions, material or shape features (color, number of feathers, decorations, ornaments, etc.). Closely connected with the symbolism of cross-dressing (transvestism), carnival, etc.

Basic values:

protection, concealment, secret, illusion, disguise, secrecy, shame;
anonymity;
duality, ambiguity;
recognition;
supernatural power;
transformation;
nothingness, the rigor of death.

戏曲理论家翁偶虹先生曾说： playwright theorist, Mr. Wen Yu Hung said:
“中国戏曲脸谱，胚胎于上古的图腾"Chinese opera mask, this is the totem of ancient embryos
滥觞于春秋的傩祭Arose during the Spring and Autumn Festival, spread to the Han, the beginning of the Chinese mask style in the Tang dynasty, Developed and strengthened in the Sun and Yuan, Formation of masks in the Ming and Qing dynasties where significant progress was achieved. Especially after the formation of Peking Opera. 京剧吸收了许多剧种的精粹，在表演上更臻于成熟和完美
Beijing Opera has absorbed the essence of many operas, consolidated the best and developed it to perfection.
"Chinese mask Drama is unique, unlike other countries, it has a special, unrepeatable charm, used in the art of makeup, theatrical makeup and style. Read the colors of the masks below.

Chinese opera is a very comprehensive performing art, it is a combination of literature, music, dance, martial arts, acrobatics, visual arts and a number of factors. Look at the visual image of the hero presented to the audience from the stage, in his contrasting colors of the mask - this is the image and character.
Another feature of the Chinese opera theater is makeup. Each role has its own special makeup. Traditionally, makeup is created according to certain principles. It emphasizes the characteristics of a certain character - from it you can easily determine whether the actor is playing a positive or negative character, whether he is decent or a deceiver. In general, several types of makeup can be distinguished:

1. The red face symbolizes courage, honesty and loyalty. The typical red-faced character is Guan Yu, a general during the Three Kingdoms era (220–280) famous for his loyalty to Emperor Liu Bei.
2. Reddish-purple faces can also be seen on well-behaved and noble characters. Take, for example, Lian Po in the famous play “The General Makes Peace with the Chief Minister,” in which a proud and hot-tempered general quarreled, and then made peace with the minister.
3. Yellow faces symbolize patience, wisdom, accumulation of experience and power. Yellow is considered a very favorable color, since, like red, it contains a lot of yang energy. In ancient times, in China it was considered the Imperial color, so ordinary people did not have the opportunity to wear yellow clothes, so red became more popular among the people. Yellow is considered the color of carefree happiness, so on holidays it is customary to give bouquets of yellow chrysanthemums.
4. Black faces indicate a bold, courageous and selfless character. Typical examples are General Zhang Fei in The Three Kingdoms, Li Kui in The Ponds, and Wao Gong, the fearless legendary and fair judge of the Song Dynasty.
5. Green faces indicate heroes who are stubborn, impulsive and completely lacking self-control.
6. As a rule, white faces are characteristic of powerful villains. White color also indicates all the negative aspects of human nature: deceit, deceit and betrayal. Typical white-faced characters are Cao, the power-hungry and cruel minister of the Three Kingdoms, and Qing Hui, the cunning minister of the Song Dynasty who killed the national hero Yue Fei.
7. As such blue and blue color the Chinese did not exist in the color scheme; they blended in with the green. Symbolizes spirituality, caring, prudence, faith and loyalty. Blue color– the color of harmony, as it cools and calms.

Peking Opera is the most famous Chinese opera in the world. It was formed 200 years ago based on the local opera "Huidiao" of Anhui Province. In 1790, by imperial decree, the 4 largest Huidiao opera troupes - Sanqing, Sixi, Chuntai and Hechun - were convened in Beijing to celebrate the 80th anniversary of Emperor Qianlong. The words of the Huidiao opera parts were so easy to understand by ear that the opera soon began to enjoy enormous popularity among the capital's audience. Over the next 50 years, Huidiao absorbed the best from other opera schools in the country: Beijing Jingqiang, Kunqiang from Jiangsu Province, Qinqiang from Shaanxi Province and many others, and eventually developed into what we have today We call it Peking Opera.

There are several different theories about the origin of makeup: