Colors of opera masks (Masks of China series) - extratime2000. Chinese opera and theater Chinese masks and their meaning

Third-year student at the Academy of Traditional Theater Arts Wang Pan as concubine Yang Guifei. It took at least two hours to create the look artificial curls are glued directly to the skin

Do you love Peking Opera as much as I do? Have you ever encountered this strange art for non-Chinese people, where men portray women, adults “go astray” in a child’s falsetto, drums and gongs deafen the viewer, and the artists spend a good half of the action, instead of singing, fighting with swords and jumping? like acrobats? Where does this mixture of melodies, dialogues and oriental fighting techniques “in one bottle” come from?

The last question is easy to answer: in our century it is taken from the National Academy of Traditional Theater Arts of the People's Republic of China - the main educational institution that trains masters of a unique genre, the most popular and interesting in the entire range of Chinese musical theater. Academy source, Peking Opera river flowing through dozens of scenes in the country. This is what the inhabitants of the Celestial Empire would probably say, famous amateurs metaphors. As for the first two questions, I hope our story will help you understand them.

Peking Opera lady is relatively young. For China, of course, where everything under 400 years old is fresh and green. And she was only a little over two hundred years old. In 1790, four opera troupes from Anhui province came to Beijing to celebrate the 80th birthday of Emperor Qianlong. The hero of the day liked their performance so much that he ordered all the artists to stay in the capital forever and develop a theater there. About half a century later, after hundreds of performances, they created a new genre - Peking Opera.

In the second half of the 19th century, it was already known in many parts of China, even in Shanghai, the most rapidly developing city of the empire, which always looked a little skeptically at the capital. Another fifty years passed, and the famous artist Mei Lanfang and his troupe toured Japan for the first time. In 1935, he brought several performances to the USSR and made a good impression on our audience. So the glory of the Opera went beyond the western and eastern borders of the Celestial Empire.

And in her homeland itself, for a long time it remained the unconditionally beloved type of theater, loved like rice by both the rich and the common people. Stage companies flourished and performers were extolled. Even the history of Chinese cinema began with the Peking Opera: in 1905, director Ren Jingfeng filmed excerpts from the play “Mount Dingjunshan” on black and white film. The film, naturally, was silent.

The Chang'an Grand Theater on Beijing's central Eternal Peace Avenue is easily recognizable by the mask in front of the entrance; Peking Opera performances are given here every day. And every day is sold out

Teacher Ma a reluctant star

And so, as they say in epic poems, a hundred years have passed. Chinese sound cinema appeared, an economic miracle took place, the image of the People's Republic of China is rapidly modernizing, and only the Academy of Traditional Arts still teaches the traditional, unchanged intricacies of Chinese opera. At the same time, among the teachers there are many real stars who are popular with modern youth: “You can pass by an elderly person and not even guess that half of Beijing is crazy about him.”

Well, let's not pass by.

There are only four people in the spacious classroom: an elderly teacher and three students. From educational materials music notebooks, a musical instrument erhu in the hands of an old man and a tape recorder. Ma Minquan gives regular lesson acting skills, but watching him is unusual and interesting.

First, the teacher performs a line from an opera aria, and the students repeat in chorus: word for word, intonation for intonation. The main principle of Beijing Opera artists is personal example. That's why there are so few students: Special attention should be given to everyone. Having achieved the correct repetition of the melody, Ma Minquan plays it with his eyes, facial expressions, and strictly defined gestures consecrated by tradition. The students copy again, now the movements. And so in everything: first understand, feel as it should be, and only then “express yourself” - the right to your own interpretation of this or that image must be earned. And this is unthinkable without a respectful attitude towards tradition, towards past experience, the bearers of which are venerable teachers.

Ma himself, having learned at “recess” that we were preparing material about Opera for a Russian magazine, throws up his hands and exclaims: “Ulanova! Samples! Bondarchuk! In the late 1950s and early 1960s, even before Comrade Mao and Comrade Khrushchev quarreled, several real “star landings” of the USSR managed to land in Beijing and other cities of the Middle Kingdom. Remembering them, our interlocutor cannot resist: using his fingers on the table he depicts a dancing Ulanova. So many years have passed, but the impressions are fresh

In 1950, Ma Minquan was 11 years old, he lived in the city of Wuhan, and he was not too interested in traditional art: for example, he sometimes went to performances with his parents, he seemed to like it, but to become an artist himself no, he did not dream of that . But one day, specialists from the Beijing Opera School came to Wuhan to recruit new students, and Minquan’s life changed dramatically.

The People's Republic of China was then exactly one year old; the country was just beginning to, at the very least, come to its senses after many years of Japanese occupation and civil war. “Life was difficult, there was not enough food.” And the parents made a strong-willed decision: to study for their son to become an artist, at least the school would provide him with a roof over his head and regular meals. So Ma became what he became, one of famous masters Chinese opera stage in the role of Hualien.

About fate and gender equality

Role is destiny. A gift for life. If you are with youth If you sing a tribute, then you will never have to play laosheng - this is the law of the genre. But life in the same system of images allows the artist to reach shining heights in it.

Who should be in Peking Opera is determined immediately as soon as the child crosses the school threshold. Moreover, it is almost impossible to influence the choice; it all depends on the voice and appearance. If a student has perfectly correct facial features, he will become a senior sheng. Girls and boys endowed with striking beauty will receive tribute. Those to whom nature has given a sonorous timbre of speech go to Hualien, and round-faced guys, in whose features something comical is found, go straight to the chow.

Even gender in the Opera means almost nothing compared to the role! The audience will not even notice which half of humanity the artist belongs to, the main thing is that he plays well and exactly according to the canon. It is well known that previously only men appeared on stage here, even in female images tribute, and this situation changed not at all because of the desire for verisimilitude, but because social reasons. After it appeared on the map in 1949 New China(as China is commonly called in the country), the idea of sexual equality came onto the scene straight from life. Moreover, by defending this idea, the ladies won the right to perform not only in their inherent role of dan, but also in completely male roles - senior sheng and hualien! So in Teacher Ma’s current class there is one girl - a typical Hualien: strongly built, with a beautiful low voice and even wearing military trousers.

Socialist realism in Chinese

With the formation of the People's Republic of China, Peking Opera changed quite a lot. Not only women, but also principles “infiltrated” the scene socialist realism, borrowed, like many other things in those years, from the USSR. They penetrated and came into serious conflict with the very essence of traditional art. After all, in China it has always been (and remains to this day) “pure,” abstract, having a very distant family relationship with reality. Anyone who has seen Chen Kaige’s wonderful film “Farewell My Concubine” will remember how, in response to an offer to stage a play about the life of workers and peasants main character exclaims: “But this is ugly!”

Nevertheless, I had to bet. Ma Mingquian remembers those times very well, although he is not too willing to share his memories (like most elderly Chinese, by the way). For twenty-seven years, from 1958 to 1985, he played in the theater of Urumqi, the capital of the Xinjiang Uyghur Autonomous Region. Before the formation of the administrative region of the People's Republic of China on this remote, predominantly Turkic-speaking outskirts of the country (1955), few knew about the existence of Peking Opera, but the policy of Hanization (“Han” is the name of the titular nationality of China) implied not only the mass migration of people from the east to the far west. It also included cultural expansion. Here Ma and his wife, also an artist, carried it out as best they could.

By and large, they were even lucky: many artists who remained in the east during the years of the “cultural revolution” not only lost the opportunity to do their business, but even went to remote villages for “re-education through physical labor.” These losses, as history has shown, turned out to be catastrophic for both Peking Opera and other ancient genres: development stopped due to a lack of personnel. The tradition itself was almost interrupted.

In Xinjiang, the biggest problem that Ma Minquan and his colleagues faced was the need to perform yangbanxi, the standard required set of eight “new exemplary performances.” The content of the plays on which they were based was personally approved by Mao's wife, Jiang Qing, herself a former actress. Five of these “immortal” works were to be staged in the style of Beijing Opera: “The Capture of Mount Weihushan” (about the PLA’s Great Northwest Expedition), “The Red Lantern” (the story of the resistance of Chinese railway workers to the Japanese intervention), “Shajiabang” (about the rescue of wounded soldiers -patriots) and two more. Other traditional subjects were prohibited. For the whole country, for ten whole years, the “diversity” of artistic impressions was reduced to such a scanty set (in addition to the above, also the ballets “Red Army Women’s Detachment” and “Grey-haired Girl” and a musical symphony based on the same “Shajiaban”).

Revolutionary performances were broadcast daily on the radio, and screenings and courses on their study were organized everywhere. Even today, 30 years after the end of the Cultural Revolution, almost everyone over forty remembers passages from all these works by heart. Ma is, of course, no exception. Moreover, he hums them with pleasure, because whatever you say, they contain the music of his youth, health, and strength. And after all, he was not engaged in uprooting stumps, but in what he studied and what he loved.

The premier of the Urumqi theater returned to Beijing only in 1985 with his two children already grown up; he was invited to teach at the Academy. Until 2002, he combined this work with performances in various capital theaters - again in traditional works, again in the good old Hualien role. But four years ago, when he turned 63, he left the stage and remained only as a teacher. However, out of old habit, he gets up at 6 in the morning, plays ping-pong every day, and plays cards with old colleagues twice a week (this entertainment remains the most popular in China). He says life is good. It’s just a pity that my daughters didn’t become actresses. But perhaps it’s for the better: “Beijing Opera is going through hard times.”

Where to listen and watch opera?
Peking opera, which originated in troupes traveling throughout the country, remains today in many ways an art on wheels. But there are, of course, theaters where her performances are performed constantly, either in their own, “stationary” production or on a contract basis. The main venue for opera lovers in the capital is the Chang'an Grand Theater in Beijing. Excerpts from popular plays are shown here daily, and full versions on weekends. Ticket prices range from 50 to 380 yuan (648 dollars). The capital's two other theaters, the Liyuan at the Qianmen Hotel and the Huguang Merchants' Guild Hall Theater, are primarily focused on foreign tourists: Lots of acrobatics and little singing. But for those who are watching Peking Opera for the first time, this is an ideal place - if you like it, you can watch a full-fledged performance for 180 x 380 yuan (23 x 48 dollars).

And this, as they say, is also good to do in Shanghai for example, in one of the halls of the magnificent and ultra-modern Grand Theater, built according to a French design (performances “for visitors” in this city, however, are also provided daily at the Tianchan Yifu Theater ).

So, what does the coming day have in store for Beijing Opera: the dying of tradition within the framework of general globalization, turning into an attraction for tourists, or a new happy life in an art that is developing and attracts full houses? The question is not an idle one. In the last 20 years alone, several varieties of folk opera have disappeared in Shaanxi province alone. As for the genre we are talking about, although these performances are performed daily in several theaters in the capital, they are mainly small adapted excerpts famous works. Especially for foreign tourists - maximum acrobatics and minimum singing, so unusual for Western ears. The Chinese themselves do not go to such performances: they consider them unreal. I visited them several times friends came and I can confirm: it is so. But what can you do: full version Peking Opera three to four hours of incomprehensible speech an outside viewer cannot stand. Rare English subtitles on special boards near the proscenium do not help the situation. And when they start singing, the disoriented foreigners, so polite at their European shows, even start giggling. Only acrobatics and kung fu go great - they are really impressive.

However, the active reaction of the public, as such, is a common thing for local artists. The Chinese have always had a tendency to react violently to what happens on stage. Prepared spectators know everything in advance, habitually close their eyes a moment before some difficult passage and shout “Hao!” at the top of their lungs. (good) when the artist manages to hit a difficult note, flashing an acrobatic trick and not getting out of breath. So it’s worth going to the show if only to listen to how the audience reacts and wonder: why do Western stars always complain about the coldness of Chinese spectators?

Meanwhile, there is no mystery: almost simultaneously with the Beijing Opera itself, many inveterate theatergoers appeared who, having a different profession and earning a living from it, gathered in their free time and staged their own performances (sometimes the most talented were allowed to go on the big stage) . They were friends with the actors, followed their careers and, being usually more educated and erudite than them, could give valuable advice. They were vaguely reminiscent of modern football fans: they accompanied the troupes on tour, applauded louder than anyone else, and organized celebrations on the occasion of successful performances.

True, unlike fans of the world's most popular sports game, Chinese opera fans in the original, classical sense of the word have almost disappeared today. Nevertheless, some traditions flourish. For example, people of the 21st century still gather from time to time in in public places, which they call piaofans. Come to any park in any large Chinese city on a day off in the morning, and you will definitely see at least one of them: from about nine in the morning (in the summer earlier) middle-aged people, not embarrassed by anyone, sing. Moreover, in compliance with all the rules of Peking Opera: they play with their eyes, gestures, and poses. These are the “professional amateurs,” and you can be sure that in the evening, at the performance, they will shout “Hao!”, clap their hands and kick their feet louder than anyone else. By the way, park, pyaofan, singing occurs in any weather: even if it’s cold, even if there’s a sandstorm. There is life in it.

It’s a pity, really, that the survival of the genre today does not depend on these old men, whose repertoire even includes arias from the yangbanxi. They are active and devoted to the theater. But to truly flourish, opera, of course, needs young people both on stage and in the auditorium.

Du Zhe star of captivating tomorrow

Today, 2,000 students study at eight faculties of the Academy of Traditional Theater Arts. Tuition is paid and costs up to 10 thousand yuan ($1,250) per year. Not cheap, especially considering that a new artist will receive no more than 1,000 yuan per month in the theater for the first few seasons. But the competition for admission is still great - there are enough enthusiasts.

Du Zhe is from Tianjin and plans to return to his hometown after receiving his diploma. He is not a youth, he is 28 years old, and eighteen of them were given to the Peking Opera even before studying at the Academy, and now there is nothing left to do but devote the rest of his life to Opera. Moreover, his grandfather, a true lover, obviously planned the fate of his grandson from birth. At first he took very little Zhe with him to pyaofan, and when he turned ten, he said: “It’s time to sing for yourself.” Since then Musical Theatre became the main and only occupation for Du Zhe, and one can say that he entered the Academy as a ready-made artist. First he studied at the children's opera school in his hometown. There, the first teacher chose for him the role of the elder shen, who, by the way, is supposed to not only sing, but also fight during the action (“I liked this,” our hero now admits). After graduating from school, he managed to work at the Tianjin Theater and only then entered the “holy of holies.” The theater pays him a stipend and is looking forward to his return: Tianjin really needs a top-class senior sheng.

Third-year student of the Academy Du Zhe in the image of Gao Chong is already a fully accomplished artist

Now Du is finishing his third year, another year and ahead, to shine on stage. However, even today he clearly stands out among his classmates. I saw him in an educational performance based on Victor Hugo’s Les Misérables, in the role of the revolutionary Marius. A curious sight, it should be noted.

In China, heroic themes are generally relevant. For example, of all that is written in Russian, perhaps the most beloved here is the novel “How the Steel Was Tempered,” and the play “The Dawns Here Are Quiet” has been running to full houses for decades. What is worse about French revolutionary poetics?

It’s another matter that the Academy, naturally, is reshaping it in the Chinese style and experimenting in every possible way, trying to attract young viewers. She reproduces the revolutionary battles on the streets of Paris in the best traditions of Peking Opera: with magnificent gymnastic stunts, always impressive performed by gutta-percha Chinese artists, as well as plot changes. The play "Sad World", unlike the novel's original, ends with a happy ending, at least as it is understood in the Middle Kingdom: Cosette, who married Marius and refused to communicate with her adoptive father Jean Valjean, still meets him. All misunderstandings and misunderstandings are resolved, Valjean dies a peaceful, natural death...

Du Zhe is clearly tired, but looks happy: the opera was greeted with applause, and a tour is coming to Shanghai. This circumstance, however, does not give him any privileges in the educational process. Every day begins at 7 am with exercise (all students live in dormitories on the territory of the Academy). From 8 o'clock classes: acting, acrobatics, literature, history of art and Chinese music. The morning “block” ends at 11.30, then a break for lunch, and from 13.30 to 16.30 study again. In the evening, most students train individually or rehearse at a local theater. There is no time left for personal life sorry for the banality .

Peking and classical European opera: find three differences
The question of how much Peking Opera can be called opera in the usual sense of the word remains open. By and large, they are united only by the specific name, and even then Chinese art was called opera by Europeans, who could not find any other term for this mixture of genres. Artist and teacher Ma Mingquian, without hesitation, names three main differences between Western and Eastern operas: scenery, exaggeration and strictly fixed roles. In fact, there are more differences; they are embedded in theatrical philosophy, different approaches and understanding of the purpose of the theater.

Peking Opera does not present the past, present or future on stage; most plays are not specific historical era. They are just a pretext for ridiculing vices, instructing on the right path and demonstrating “what is good and what is bad.” Frank moralizing in general, distinguishing feature all Chinese art. Loyalty, respect, humanity and duty are the main values of old China, which Peking Opera continues to actively promote today.

But the theme of love, so popular in Europe, is a secondary matter in the Middle Kingdom. It is, of course, present, but rarely as the main line: mostly these are stories about troubles and sorrows experienced by spouses together, and not about passion. About gratitude for caring, but not about heartfelt fire.

Another important difference lies in the music itself. For European performances, the composer composes music specifically, but Chinese traditional opera adopts popular musical motifs, and the notes are written in hieroglyphs. For an unprepared person, the sound at first seems deafening because of the drums and gongs. These instruments, however, are a tribute to their origin: Peking Opera was born among village booths, and loudness served to attract the maximum number of spectators.

Singing in Peking Opera is fundamentally different from the Western vocal system: acting roles differ not by range, but by gender, age, personality, position, character and timbre. Each role has its own pronunciation order: for example, the old woman dan sings in a natural voice, and the dan in a dark robe sings in falsetto. The singing range of Beijing Opera artists is 1.7 x 2.8 octaves.

How to tighten the skin more

Students come out to the dress rehearsal in the academic theater in full costume, and I was allowed to observe the ritual of the vestments. For some characters, the costume is incredibly complex; the artist alone cannot do it.

Today Du Zhe turns into Gao Chong, one of the most famous heroes Role of Shen-warrior. After applying makeup, putting on silk trousers and an undershirt, he goes down to the costume room, and the process begins with placing a “tablet” on his head. This is a small, dense black cap, from which long ribbons extend; they need to be wrapped around the head several times and secured. Moreover, to secure it with maximum “painful effect” (Peking Opera is generally an art that is merciless to the performers), the purpose of the cap is to tighten the skin of the face so that the eyes become even more slanted. It is believed that the outer corners of the eyes raised upward are the height of perfection. "Hurt?" I ask sympathetically. “It hurt in the first years, but now I’m used to it,” Du replies with a stoic expression on his face.

Then comes the turn of the “skirt”. Several long silk “tails” are tied around the waist. Next, something like a scarf made of white fabric is placed around the neck so as not to rub the skin during the action. Then armor: a long (to the toes) and heavy robe, symbolizing military armor. It weighs, of course, less than real armor, but still a lot. According to the canon, the total weight of a sheng warrior’s dress cannot be less than 10 kg. But the artist needs to move freely, perform tricks, do the splits and at the same time sing every now and then!

Gao Chong is also entitled to standards; several flags must fly behind the general’s back. Thick ropes wrap around the shoulders and tie at the chest. That seems to be it. All that remains is one more crown-like headdress worn over the “tablet” and boots with high white soles (before each performance, Du Zhe refreshes the paint on it, for which he also carries a brush in his makeup case). Now pick up a long spear and take to the stage.

Are women good at playing women?

Wang Pan, who will appear on stage together with Du Zhe, has also been studying opera since she was 10 years old. Only it wasn’t her grandfather who brought her to Piaofan, but an enthusiastic traditional art a friend dragged me into a children's studio. I went, as often happens, for company and stayed forever. Today he is a third-year student and, like all artists, dreams of becoming famous. Dan specializes, of course, in the female role and advocates “strengthening the role of women in the theater,” but to a typical journalistic question about an idol, an ideal, he answers without hesitation: Mei Lanfang. This is understandable: the more famous performer of female roles in Chinese cultural history No. So what does it matter if he is a man? By and large, he declared his masculinity only once - during the Second World War. As a sign of protest against the arbitrariness of the Japanese, the maestro grew a mustache and during almost eight years of occupation he never appeared on stage. Then it was true courageous act for a person whose profession and morality ordered him to always remain feminine.

Mei Lanfang never tired of repeating: men play women better than they play themselves. Like, the stronger sex knows something about us that we ourselves are not aware of, and therefore plays a dream come true - the kind of woman Heaven intended, but the kind you won’t find on Earth. In the 1910s, there was even a saying in Beijing: “If you want to marry successfully, look for a wife like May.”

Wang Pan, however, does not agree with the opinion of her favorite and believes that the dan girls are no less convincing: “And Mei Lanfang said that simply because he is a man.”

Whether she is right or not, history has judged in her favor: there are almost no artists left in Beijing Opera today. Only a few distinguished elders, led by Mei Baojiu, the son and heir of Lanfang.

Well, at least one thing is easier for women in Chinese theater than for men: applying makeup. After all, they do this every day in everyday life.

Our friend Van's makeup takes only an hour and a half - not much, considering that the laws of the genre dictate that the source material be changed beyond recognition.

Complex role system
So, in Peking Opera there are four main acting roles: sheng, dan, jing (hualien) and chou, which differ from each other in the conventions of stage performance, makeup, costumes and place in the plot of the performance.

Shen is a male character. Depending on age and character, he can be senior, junior, or warrior. The elder shen is found more often in operas, and many famous actors specialized in the role of “a middle-aged or elderly man, always with a beard and a strict, dignified speech.” Sheng warrior knows martial arts techniques and must be an excellent acrobat. Depending on the costume in which the warriors perform, they distinguish between chankao and duanda. Chankao implies full attire: a shell with standards behind the back, thick-soled boots and a long spear. Artists performing in this “sub-role” must be able to behave like real officers, and also dance well and sing at the same time. Duanda Sheng is a warrior in short clothes and with weapons corresponding to his height. Finally, the youngest shen is a well-bred young man with delicate facial features, without a beard or armor. There are also many “branches” in this role: sheng with a hat (an official in the palace), sheng with a fan (intellectual), sheng with pheasant feathers on his headdress ( talented person), poor sheng (unlucky intellectual). home distinctive feature the latter singing in falsetto. Foreign spectators especially love to listen to and watch operas in which performers play the role of jing “painted face”. Usually these are men endowed with great strength and energy: they speak loudly, screaming at every occasion, often use their fists and sometimes fight with their feet. There is a lot of action and much less arias (this is what European audiences like).

Female characters in Peking Opera are called dan. There is a dan in a dark robe (zhendan), a flower dan, a warrior dan, a dan in a colorful shirt, an old woman dan and tsaidan. The most important of all zhendan, main character, middle-aged or young woman usually positive character. Sedate, reasonable and judicious, she is never in a hurry and generally behaves quietly - in strict accordance with the rules of behavior adopted in old China: behave with an emphatic correctness, do not show your teeth when you laugh, and do not let your hands out from under your sleeves. By the way, about the sleeves: the heroines of the Peking Opera have not just long, but very long sheishu. One of the reasons, again, is that 60 years ago only men played in the theater. If the face can be changed beyond recognition with the help of makeup, then the hands Brushes cannot be changed.

And the very first role in the history of Peking Opera was chow clown. There is even a saying: “Without chow there is no play.” This is a comic, lively and optimistic role. An actor should be able to play anyone - lame, deaf and dumb, man and woman, old man and boy, treacherous and greedy, kind and funny. There are also chow warriors, and the demands on their skill are very high: performing acrobatic stunts and looking easy and funny at the same time is not an easy task. By the way, the chow has special privileges in the theater: all actors are prohibited from moving backstage during the performance unless absolutely necessary, but this restriction does not apply to the chow. And all because Emperor Li Longji from the Tang Dynasty was an inveterate theatergoer and himself sometimes performed on stage in the role of chow.

Blue color of the obstinate

One of the most beautiful features Peking Opera has a variety of faces: they are white like chalk, yellow like sand, blue like the sky, red like blood, and golden like the sun. Very similar to masks, but not masks: the paint is applied directly to the face. Chinese artists love to tell how Luciano Pavarotti himself, fascinated by the appearance of local theatrical characters, asked to be made up as Xiang Yu from the play “Farewell of the Almighty Bawan to his Beloved” (Hualien role).

Several thousand compositions of opera makeup are known, and each has a specific meaning and corresponds to a particular image (special oil is always added to the paints, which does not allow them to spread during the performance). Subtle, understandable only to the initiated, “drawn” indications of the smallest features of character, the personality of the characters, the blood relationship between them, and so on, are countless. A faithful and honest person has a red face. The insidious deceiver is easily recognized by his whiteness. Blackness indicates prowess and strength, Blue colour about obstinacy and courage. If you see two characters on stage with similar colored faces and similar skin patterns, most likely they are father and son. Gold and silver paints are intended exclusively for gods and spirits; “knights from the high road” “love” green and blue. And if the artist wears almost no makeup, only with a white circle around his nose (the so-called “piece of doufu”), know: this is a low and flattering character.

In short, a viewer educated in Chinese art will not get confused. Moreover, by looking at the makeup, he can easily guess both the opera itself and the name of the character, and not just his role, without any programming. For example, the hero completely covered in dark red paint is most likely Guan Yu, one of the most popular characters in the history of the Middle State. The red color symbolizes the depth of his friendly feelings towards others. And the most famous Chinese judge, who migrated from his chair to many operas, Bao Zheng, should be black-faced and have spoonful eyebrows. However, if someone suddenly made a mistake at first, the hero’s first movement will certainly prompt the correct guess...

Teacher Yang and safety issues

Just before my eyes, students confidently and gracefully, although with some laziness, rehearsed acrobatic scenes. Intensive physical (almost circus) training is one of the most important foundations of the curriculum. And no discounts either on the student’s age or gender. Girls and boys receive exactly the same ones, designed for strong male strength and strength. This tradition, of course, comes from those times when there were no women in the theater. So, having won the right to participate in the Peking Opera, the weaker sex also took on the responsibility “on a general basis” to do somersaults, do the splits, and fight with swords and spears.

All this is taught, if not by retired Beijing Opera artists themselves, then by martial arts specialists or circus performers. During class, they all have a stick in their hand, not very long, but impressive. In the past, “punishment with sticks” was the norm; now, of course, it is prohibited, but the blows continue to fall. Only in the 21st century does this happen by mutual consent of the “beater” and the “beaten”, and not just for the sake of punishment. Or rather, not for his sake at all. The point is that the student feels the touch of the teacher’s stick at a strictly defined moment in the performance of the trick and at a strictly defined point on the body. If you felt it at another time or at another point, it means that the number was performed incorrectly, repeat it all over again and carefully follow the mentor’s passes. For example, following the passes of Yang Hongcui, a teacher of those about whom in China they say: “Shen qing zhu yan.” This literally untranslatable expression describes a person who moves easily, energetically and thanks to this looks much younger than his age. Indeed, Ian is not young, but he teaches acrobatics to freshmen by his own example. How to ensure that a student holds his back during a somersault? With the help of a literally weighty argument stick. In case of emergency, it can protect against accidental injury. I myself saw how a lesson had to be interrupted: one of the performers “kicked” the teacher in the eye. Accidentally. But it really hurts. As you can see, teaching acrobatics at the Academy of Theater Arts is not the safest activity. How, however, to learn this.

It's easy to change the location

The stage, equipped for a classical performance of Peking Opera, should be as close to the viewer as possible: open on three sides. The floor was initially covered with boards, but later they began to cover it with carpet to protect the performers from accidental injuries.

The only scenery is a table and two chairs (by the way, Nemirovich-Danchenko considered such an environment ideal for the development of acting imagination). But depending on the development of the plot, these objects can depict anything: an imperial palace, an official’s office, a courtroom, a military commander’s tent, or even a noisy tavern. Of course, to see all this, the public must have a remarkable imagination and know the rules of the game. Opera is, of course, a super-conditional art. But, as in the case of make-up, its decorative conventions have direct “translations”, and a real pyaoyu, seeing a flying golden dragon embroidered on tablecloth valances and chair covers, will immediately understand: this is happening in the palace. If the valances and covers are light blue or light green, and orchids are embroidered on them, it means that we are in the workroom of a scientist. If the color and designs are flamboyant, it is a military tent, and if they are bright and tasteless, it is a tavern.

The placement of simple furniture is also important. Chairs behind the table the situation is solemn: for example, the emperor is giving an audience, a general is holding a military council, or senior officials are engaged in state affairs. The chairs are in front - this means that the life of a simple family will now unfold before us. When a guest arrives, they are placed on different sides: the newcomer sits on the left, the owner on the right. This is how China traditionally shows respect for the visitor.

And, depending on the situation, the table can turn into a bed, an observation deck, a bridge, a tower on the city wall, a mountain, and even a cloud on which the heroes fly. Chairs often become “clubs” for fights.

This is the free style of Peking Opera, in which the main thing is expression, not everyday verisimilitude.

And here, of course, no matter how “savvy” the experienced audience is, everything depends on the artist. From his ability to manage the stingy aesthetics and props of his genre. From the ability to swing, say, a whip so recklessly, so that it becomes clear to everyone: his hero is galloping on horseback (live horses are not allowed on stage). Here you can do everything: drive for a long time, but stay at the entrance to the house, overcome mountains, swim across rivers, and this entire imaginary world, enclosed in the stage space, is displayed and transformed by simple (or not so simple) movements, the skill of an actor who has studied his art long years

Where do the students go?

So they study. Another thing is that not everyone is given an equal amount of talent.

Du Zhe, Wang Pan, Ne Zha, who amazed me in the role of the old teacher from the fairy tale “Nu Cha”, staged in the educational theater, many other students I saw in action are practically ready-made masters. And although they will have to find employment themselves (some might dream of placement, but it is not practiced in China), the professors are confident that any of the country’s few troupes will gladly hire them.

Well, what about those who are not so bright, potential, so to speak, extras? Well, if there is not room for everyone in the Beijing Opera itself, there are various permanent concert programs. In the end, the Academy produces generalists who, one way or another, can do everything on stage. In Beijing, for example, two martial arts shows compete with each other: “The Legend of Kung Fu” and “Shaolin Warriors”. Among the participants are not only graduates of schools of these same martial arts (for example, at the famous Shaolin Monastery), but also certified opera artists.

And if you knew how many soap operas are filmed in China! Moreover, the absolute majority on historical topics, from the life of ancient dynasties. And the main spectacular element of these films is, in addition to the traditional interiors, beautiful, plastic surgeons faces and eyes rounded by the same surgeons exciting scenes of fights that take up a good half of the screen time. Academy graduates are willingly accepted into such series.

By the way, you all know at least one of the average students who does not reach the level of professional Peking Opera in terms of talent. As they say, you will laugh, but this is Jackie Chan. He graduated from the opera school in Hong Kong and is still grateful to the teachers who beat him with a stick, what efficiency they instilled!

Liza Morkovskaya / Photo by Andrey Semashko

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.

Black

Oddly enough, but 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 is an outstanding scientist and statesman Song Dynasty, 999–1062 AD e.). 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. Purple 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.

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 by new drama and 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 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 its rich orchestral composition, melodic variety and great ability to innovate, 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 dances, originated at the end of the 14th century and developed into an operatic 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 protection cultural heritage, but also in terms of the continuation and development of operatic art.

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 - year centenary anniversary 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 others opera schools countries: Beijing "Jingqiang", "Kunqiang" from Jiangsu province, "Qinqiang" from Shaanxi province and many others and, in the end, turned into what today we call 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.

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 all the negative aspects of human nature: deceit, deceit and betrayal. Typical white-faced characters are 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”.

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 make-up 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 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.

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.

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.

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 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 another's suit, he is thus showing his respect. 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 is a real trick in traditional Chinese theater. Thus, the change in the hero’s mood is displayed. When panic in the hero's heart gives way to rage, 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.

The meaning of the masks used in Chinese opera may be a mystery to outsiders, but for Chinese opera lovers who are familiar with Chinese art, with just one glance 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

White

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

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 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 the fragrant 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 must 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”

Origins of traditional theater go deep national traditions. The plots of the plays and their characters reveal the character of the people and are inextricably linked with the nature, literature and culture of the country. Peking opera has come a long way in its development and formation from ritual chants, song and dance performances of Yu artists and Changyu singers, jesters and actors of Payu, performances of Baixi, the poetic genre of Ci and Zhugongdiao, musical and dramatic plays of Zaju, theatrical styles of Beiqu and Nanqu, drama of Chuanqi , Yiyang and Kunshan theaters, Kunqu theater, Huabu folk theater genre, Pihuang and Qingyang genres, Anhui theater performances before the advent of Jingxi Musical Drama Theater or capital drama. However, it was the 18th century that was the time of the birth of Beijing musical drama (jingxi or jingju), which crowned thousand-year history development of Chinese theatrical art.

Peking Opera, despite its name, did not originate in the capital, and was brought by actors from Anhui province at the end of the 18th century. The beginning of the formation of “metropolitan drama” is considered to be 1790, when the Anhui troupe “San Qing Ban” (“Three Celebrations”) came to Beijing for celebrations in honor of the 80th anniversary of Emperor Qianlong. The genre can finally be considered to have taken shape by the early 1860s.

Currently existing as national theater classical drama China - the capital's musical and drama theater Jingxi (Beijing, or capital, opera) - arose on the basis of the fusion of a number of local theatrical genres, combining high performing techniques and literary language wenyan(mainly in arias) with dynamism, love for battle scenes and circus tricks, with colloquial baihua in dialogues, characteristic of genres huabu.

Chinese people conveyed to his art a piece of his soul, imagination and talent. Understanding Chinese theatrical art contributes to a correct and more complete understanding of the specific features of the history, ideology and psychology of the people who created this art. Peking Opera - product traditional culture. It captures with great completeness and richness of colors the country's past, modern reality, beliefs and fantasies of the people. Merchants and doctors, judges and military leaders, singers and noble young ladies, rebels and robbers, lamas and Buddhist monks, innocently executed souls and celestial beings - such is the motley and noisy world of images of Peking Opera, captured in their essential features and manifestations, with their inherent views and attitude towards the environment. Peking opera performances are characterized by a sense of stability, integrity, and rationality of the world order depicted in them. In that theater world good and evil, joy and suffering, the ordinary and the supernatural coexist, mutually complementing or temporarily pushing aside, but almost never destroying or denying each other. Kingdoms and dynasties, periods of war and peace change, but the world order remains unchanged.

Peking Opera with its complex set of ideological and aesthetic properties and concepts impossible unambiguously compare with any of the stages of development of a well-studied European culture. The creative genius of the people who created the art of Peking Opera found its manifestation in the improvement of artistic means inherited from the past. Here, to one degree or another, artistic experience, forms and technical techniques are used, characteristic of such dissimilar phenomena of literature and art as classical poetry, proso-poetic tales, theatrical farces, song and dance performances.

Chinese artistic culture is a culture of allusions and hints. During the Tang era, a special metalanguage arose, accessible only to the initiated - the language of the very core of Chinese culture. Understanding a painting, poetry, or even a dance replete with symbols, a person seemed to check his belonging to the tradition. For spectators ignorant of the intricacies of Peking opera, many of the highly specific attributes of the performance remain incomprehensible. Questions that arise when watching Peking opera concern knowledge of the history, customs, culture and social foundations of China.

Theatrical aesthetics of Peking Opera responds to the pomp and splendor of the stage costume, a special manner of stage speech based on the modulation of words and phrases, the piercing sounds of falsetto singing, the loud sound of the orchestra, the striking ornament and intensity of the color of the actor's makeup, the symbolism of props and stage gestures.
A Peking Opera actor needs to know the basics of national acting - these are the “four skills” (singing, reciting, impersonation and pantomime) and the “four techniques” (hand acting, eye acting, body acting and steps). Already by the beginning of the Qing dynasty, Chinese theatergoers distinguished almost three dozen different movements with their legs and about forty types of movements with their arms and sleeves.

As in earlier theater, in the capital's drama the division of characters into four main roles. They differ based on gender, age, and individual characteristics of the stage character.

Chow's role

Main types characters: shen (male characters), dan ( female characters), hualien (the role of male characters with a painted face, who are also called jing (in Chinese mythology - werewolves) - villains, insidious traitors and other negative characters, which is why they received the second name "hualien" - "painted face" and chou (comic characters).

Role Tribute

Roles, in turn, are divided into sub-roles, such as: sheng with a fleur-de-lis hat or guansheng (officials in the imperial palace); sheng with a fan or shanzisheng (a character with a fan in his hand, an intellectual with a fan); sheng with pheasant feathers in a headdress or zhiweisheng (outstanding talent), etc.

Role Jin

Chinese stage costume its shape, design, ornament and color expresses the ancient cosmological symbolism of the natural alternation of Light and Darkness, the merging of Heaven and Earth in the act of creation of the world.

Role Shen

Beijing musical drama theater costume is not historically specific. It is difficult to determine from the theatrical attire in which historical period the character is acting. Despite the fact that the style of clothing changed in different dynasties, the costumes of Peking Opera actors underwent virtually no changes. The hero invariably appears in clothes of the Ming era, complemented by details characteristic of a later or earlier time. The main criterion when choosing a costume is the role and specific role of the actor. They also determine the color scheme of the suit. Thus, the emperor wears a yellow dress, and members of the imperial family wear light yellow tones; the upper classes dress in red suits; characters who are virtuous and devoted appear in blue clothes; young people wear white, and older people wear brown.

Beijing musical drama makeup is diverse and depends on the interpretation of the image: by its color and design one can determine the social position of the hero, his character, fate, etc. There are several thousand types of makeup compositions for Peking Opera characters, symbolizing one or another image.

The makeup of Peking Opera actors is “conventional” makeup. The principles of conventional makeup are based on exaggeration of individual features, characteristics, and qualities of a character. Makeup paints change the actor's face and allow you to achieve the desired effect.

Color scheme in a traditional theater strictly regulated, and each of the twelve colors symbolizes certain properties and character traits. The main makeup colors are red, purple, white, yellow, black, blue, green, pink, gray, brown, gold and silver. To shade and thicken the primary colors, other colors are often used, applied to the face in the form of stripes.

Beijing musical drama developed a whole system of makeup, the history of which goes back to the examples of the multicolor mask makeup of the Yuan and Ming theaters, significantly complicating its design, color and ornamental symbolism. The long-term development of the art of makeup has shaped the generally accepted conventions of makeup techniques and its symbolic meaning. Knowledge of these symbols contributes to a better understanding of the plot of the play. Spectators who understand Peking Opera, seeing the composition of the makeup, will immediately recognize the character. And this tradition is carefully passed on from generation to generation. At the same time, the development of the art of makeup has not displaced theatrical masks from the stage, which coexist on stage along with makeup.

In Beijing musical drama, one of the most important makeup tools that can significantly change the overall appearance of a character is the beard, which is a method of artistic exaggeration. Based on color, beards are divided into four types: black, gray, white and red. The color of the beard depends on the age and character of the character.

Symbolism of stage appearance in Chinese theater it is often applied to things without taking into account their natural properties; it is not intended to express the essence, but to designate a certain cosmic structure. A Chinese theatrical aphorism conveys the aesthetic subtlety of theatrical acting: “In truth there is deception, in deception there is truth.”

The Chinese theater did not abandon the symbolism of folk ritual spectacles; it gave it an aesthetic quality and subordinated it to the requirement of stylistic unity. The aesthetic principles of Chinese theatrical tradition are focused on combining the symbolic and the real in the artistic image, and the emphasis on the symbolic qualities of theatrical performance does not exclude interest in historical truth life and everyday details.

Conventions and symbolism in staging Peking Opera performances have developed through many years of practice. They are passed on by personal example from generation to generation and the criteria in this regard are quite strict and, although at first glance the actor is required to absolutely comply with the canons of Chinese traditional performing art, it is through them that the individual vision and talent of the artist is revealed.

Centuries-old traditions

As the Chinese say, “the art of Peking Opera is the treasure of Chinese national culture, it expresses the Chinese national spirit. The art of Peking Opera should be passed on from generation to generation.” It was the desire to preserve traditions, the desire to instill understanding, love, respect for Chinese national art from childhood and to educate a new generation of Peking Opera artists that prompted the authorities of the city of Harbin to create a Peking Opera drama club "Jing Miao Peking Opera Troupe" (translated into Russian means "Sprouts of Peking Opera") in administrative kindergarten No. 1 in Harbin.

The teaching process is based on the psychological and physiological characteristics of preschool children, an appropriate plan is drawn up and the content of the works is selected that is acceptable for the youngest childhood. The teaching principle in the drama club is: show more examples, encourage more, teach and criticize less. 15 years have passed since the creation of the Peking Opera troupe for children. It is widely popular among children and their parents.

Today in China, in parks and squares you can often find groups of piaoyu (amateur actors) who gather and study Peking Opera, exchange experiences, thereby striving to improve their skills.
International houses of Peking Opera lovers have been established in major cities of the country, such as Beijing and Shanghai.

Today, the misunderstanding of the Peking opera genre by contemporaries is largely inevitable and at the same time understandable. In this regard, the Chinese government attaches great importance protection, inheritance and development of the country's traditional cultural heritage.

In December 2006, the Beijing government published the City Register of Intangible Cultural Heritage. It includes 48 objects of intangible cultural heritage, including the Beijing musical drama, previously included in State Register intangible cultural heritage.

Currently Peking Opera is the largest form of theatrical art in China, which has no equal in the richness of its stage repertoire, the number of performers, the number of spectators, and its profound influence on society.

Peking Opera is an important phenomenon of not only Chinese, but also universal human culture, which in many ways still retains its artistic and educational value.

On November 28, 2007, the Chinese Peking Opera Theater (founded in 1955) was officially renamed the Chinese National Peking Opera Theater; The Bolshoi Theater of the Beijing Opera named after him will officially operate under him. Mei Lanfang is one of the most famous Chinese actors in Peking Opera.

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 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.
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.

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 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 another's suit, 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.