Peking Opera of China

A Report by Group I of 8 - Centrioles

China is known for their
traditional theater art
form, the Peking opera, or
Beijing opera which
combines music, vocal
performance, pantomime,
dance, and acrobatics.
It started in the late 18th century and became fully
developed and recognized by the mid-19th century.
During the Qing Dynasty court, it became
extremely popular and came to be regarded
as one of the cultural treasures of China.
 Pupils were often handpicked at a
young age by a teacher and trained
for seven years on contract from the
childs parents.
After 1911, training took place in
more formally organized schools.
Students of these schools rose
as early as five o clock in the
morning exercises.
Daytime was spent learning the
skills of acting and combat and
senior students performed in
outside theaters in the evening.
Characters
and Roles
Sheng
Peking Operas main
role.

There are three

kinds.
Xiaosheng
Actors are often involved
with beautiful women by
virtue of the handsome and
young image they project.
Wusheng
It is a martial character for
roles involving combat.
They are highly trained in
acrobatics and have a
natural voice when
singing.
Laosheng
A dignified older role.
These characters have a
gentle and cultivated
disposition and wear
sensible costumes.
Da
n
It refers to any female role in Peking Opera.
There are five
kinds.
Laodan
An old woman.
Wudan
A martial
woman.
Daomadan
A young female
warrior.
Qingyi
An elite, virtuous woman.
Huada
n
An unmarried, vivacious
woman.
Jing
Jing is a painted face male role
who plays either primary or
secondary roles.
This type of role entails a
forceful character, which
means that a Jing actor must
have a strong voice and be
able to exaggerate gestures.
The red color denotes
loyalty and goodness,
white denotes evil, and
black denotes integrity.
Chou
A male clown that usually
plays secondary
Chou, roles.
meaning ugly,
reflects the traditional belief
that the clowns ugliness and
laughter could drive away evil
spirits.
 Visual
Performance
Elements
Peking opera performers
utilize four main skills
such as the following.
Song Speech

Dance-Acting Combat
pure dance acrobatics
pantomime fighting with all
manner of weaponry
other types of dances
 A review on
Peking Operas Facial
Makeup Colors and
Their Meanings
 fiercenes
s

.. .
.. .. .
Black

.. .
.. .. .
roughness
 loyalty

..
fiercenes

. .
s

..
.

.
. ..

.
.. . .
Blue
.
.. .
. ..
.
sharpness
 impulsive

.. . .. .. .
... .
Green ....
..
.. . . ..
violence
stubborness
cool-headedness

.. .
. . .
..
....... . sophistication
Purple
...
.. .
..

uprightness
 courage

...
..... . . .

.
. . . .

.
bravery devotion
.. . .

. ..
Red .
...
...
.. . .. .
.. .
loyalty uprightness
just

....
.
...
Reddish Purple
(Magenta)

....
. .. .
nobility
 craftines
s

.. .
.. .. .
....
. White
... .. .
dangerousnes . . .
s ..suspiciousnes
s
 ambition

.. . .
..
cool-headedness

..
. ... .
Yellow
.. .

..
.. . .
..
fierceness
 Xiaohualian
It is a small patch of
chalk on around the
nose.
Clowns of traditional drama
who wears this special
makeup show any mean and
secretive character.
 Aesthetic Aims
and Principal
Movement
The highest aim of performers in Peking opera
is to put beauty into every motion.
The art forms, gestures, settings,
music, and character types are
determine by long help conventions.
Conventions of movement
include the following.
 Walking in a large circle
always symbolizes
travelling a long distance.
 A character straightening his
or her costume and headdress
symbolizes that an important
character is about to speak.
Pantomimic is the opening
and closing of the doors
and mounting and
descending of the stairs.
Staging and
Costumes
Stage
The stage are composed of square platforms, action on
stage is usually visible from at least three sides; stages were
built above the line of sight of the viewers, but some modern
stages have been constructed with higher audience divided
into two parts by an embroidered curtain called shoujiu.
Costumes
Xingtou, popularly known as Xifu, in Chinese origins of Peking
opera. Costumes can be traced back to the mid-14th century.
They enable the audience to distinguish a characters sex and
status at first glance if noble or humble, civilian or military,
officials or private citizens, give expressions to sharp
distinctions between of good and evil or loyal and wicked
characters.
Costumes
Oblong wings (Chizi) attached to a gauze hat
indicate a loyal official. In contrast, a corrupt official
is made to wear a gauze hat with rhomboidal wing.
Props
The play utilizes very few props,
will almost always have a table
and at least one chair, which can
be turned to convention into
such diverse objects as a city
wall, a mountain, or a bed. A
whip is used to indicate a horse,
and an oar symbolizes a boat.
Musicians
They are visible to the audience
on the front part of the stage.
Performers
They immediately move to the
center north upon entering the
stage. All characters enter from
the east and exist from the west.
End of report.
Thank you for listening!
A Report by Group I of 8 - Centrioles
B1 Agcamaran, Patrick Joseph
B2 Asence, Erick Justin
B3 Batuhan, Mark Aljo
B4 Besmonte, John Michael
B5 Borabien, Miguel Angelo
B6 Camasis, Karl Emmanuel
G1 Alvarez, Ashley Mae
G2 Atienza, Paulinne Vianca
G3 Bumanglag, Julia Shaane
G4 Carpio, Comei
G5 Coronel, Irish
G6 Deuda, Angela Camille
G7 Embile, Aleeyah Jasmine
G8 Evale, Excella
G9 Gutierrez, Urielle Rosalynne