Chinese opera together with Greece tragic-comedy and Indian Sanskrit Opera are the three oldest dramatic art forms in the world. During the Tang Dynasty (618 - 907), the Emperor Taizong established an opera school with the poetic name Liyuan (Pear Garden). From that time on, performers of Chinese opera were referred to as 'disciples of the pear garden'. Since the Yuan Dynasty (1271 - 1368) Chinese opera has been encouraged by court officials and emperors and has become a traditional art form. During the Qing Dynasty (1644 - 1911), Chinese opera became fashionable among ordinary people. Performances were watched in tearooms, restaurants, and even around makeshift stages.

Peking (Beijing) Opera

Beijing Opera is the quintessence of China. The largest Chinese opera form, it is extolled as 'Oriental Opera'. Having a history of 160 years, it has created many 'firsts' in Chinese dramas: the abundance of repertoires, the number of artists, opera troupes and spectators.

Beijing Opera is developed from absorbing many other dramatic forms, mostly from the local drama 'Huiban' which was popular in South China during the 18th century. It is a scenic art integrating music, performance, literature, aria, and face-painting. Certain rules are set up and regulations are standardized during many artists' long practice on stage. Different from regional plays, it is stricter on the variety of the workmanship. The combination of virtual and reality - a special technique of expression, keeps it largely free from the restriction of time and space on stage performance. Beijing Opera has had many interesting names since it came into being, such as Jinghuang, Daxi, Pingju, Jingxi.

Four Means of Artistic Presentation

Beijing Opera presents dramatic plays and figures mainly by infusing four artistic methods: singing, dialogue, dancing and martial art. Singing is utilized to intensify the appeal of the art by all kinds of tones. Dialogue is the complement of singing which is full of musical and rhythm sensation. Dancing refers to the body movements requiring high performing skills. Martial art is the combination and transformation of traditional Chinese combat exercises with dances.

Main Roles in Beijing Opera Performance

Sheng: It's a common name of male characters and composed of Lao Sheng and Xiao Sheng. Lao Sheng refers to the middle-aged man with a beard who acts as the decency figure; for example, Zhugeliang in 'Empty City Scheme'. Xiao Sheng means young man without a beard. Zhangsheng in 'The Story of the West Room' is a representative of Xiao Sheng.

Dan: The general name for female characters in Beijing Opera can be divided into Zhengdan, Huadan, Laodan, Wudan. Zhengdan is also called 'Qingyi', who mainly plays the part of the strong-minded middle-aged woman who behaves elegantly. Huadan refers to little girls who often live in the bottom of society. Laodan refers to the senior woman and Wudan indicates the female who is good at fighting.

Jing: Painted face often refers to male characters with unique appearance or personality, such as Baozheng and Caocao. Besides, Chou is a comic role or villainous character or righteous person. The actor's nose is painted by a piece of white powder, making him or her easily recognizable.

Facial Painting (Lianpu)

Lianpu is formed through dramatic artists' long-term practice and their understanding and judgment of the roles in plays. It is the colorful dressing on actors' faces. By using transformative and exaggerated figures, professional spectators would easily tell the characteristic of a role. In this way, it is called 'the picture of hearts'. There are certain formats of the facial painting in the aspect of color, type and shape. Usually, eyes, foreheads and cheeks are painted like wings of butterflies, swallows and bats.

Colors of Lianpu are varied with each representing a characteristic. For example, red symbolizes loyalty, such as Guanyu, a great general during Three Kingdoms Period (220-280). Black signifies honesty and frankness, such as Lord Bao, a righteous official during Northern Song Dynasty (960-1127), or abruptness and impertinence, such as Likui, an important figure in the famous Chinese ancient novel 'All Men Are Brothers'. White stands for cattiness and cunning, with Caocao as its representative, a famous politician in the late Eastern Han Dynasty (25-220).

Stage Properties (Qimo)

Qimo is a general designation for all kinds of stage properties and simple settings used in Beijing Opera performances. It comes from the real life experience. For example, an actor can practice the scene of galloping the horse simply by using a horsewhip without riding a real horse on stage. A bridge is made up of two chairs standing on each side of a table. Storms are realized by performers dancing with umbrellas. The imaginary performance skills largely bring to performers the freedom to express more life scenes.

Four Famous Artists

There are many famous masters who are good at performing Beijing Opera. Among them, the Four Famous Dans - Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun and Xun Huisheng - are most well-known at home and abroad. They are experts in performing the role of Dan and each has his own artistic feature. Their wonderful performances are still appreciated by many audiences. For example, 'Farewell My Concubine' by Mei Lanfang, 'Injustice to Dou'e' by Cheng Yanqiu, 'Lady Zhaojun Going beyond the Great Wall' by Shang Xiaoyun and 'Matchmaker' by Xun Huisheng.

Beijing Opera contains the soul of Chinese national culture. Its unique charm inspires ethos of Chinese people. There is no doubt that it is really the treasure of Chinese culture. If you want to taste the real Beijing Opera, Liyuan Theatre in Beijing will be a good choice for you.

Sichuan Opera

Magical Face Changes in Sichuan Opera

 Sichuan Opera (Chuan Ju) originated at the end of the Ming (1368-1644) and the beginning of the Qing Dynasty (1644-1911). With immigrants flooding into Sichuan, different dramas were brought in to blend with the local dialect, customs, folk music and dances. Gradually, brisk humorous Sichuan Opera, reflecting Sichuan culture, came into being.

Face changing is the highlight of Sichuan Opera.

It is said that ancient people painted their faces to drive away wild animals. Sichuan Opera absorbs this ancient skill and perfects it into an art.

There are three types of face changes.

In the Wiping Mask routine the actor applies cosmetic paint in a certain position on his face. If the whole face is to be changed, the cosmetic paint is applied to the forehead or eyebrows; for changes on the lower half of the face, paint is applied to his cheeks or nose; or to other specific parts.

The Blowing Mask routine works with powder cosmetics, such as gold, silver, and ink powders. Sometimes a tiny box is placed on the stage; the actor draws near and blows at the box. The powder will puff up and stick to the face. Sometimes the powder is put in a cup. The secret to success in this act is to close the eyes and mouth and to hold the breath.

The Pulling Mask routine is the most complicated. Masks are painted on pieces of damask, well cut, hung with a silk thread, and the lightly pasted to the face one by one. The silk thread is fastened in an inconspicuous part of the costume. With a flick of his cloak the performer magically whisks away the masks one by one as the drama develops.

One Sichuan Opera master also used qi gong movements as he changed face color from red to white, then from white to black.

Face changing is a magical art. Actors change more than 10 masks in less than 20 seconds! By raising the hand, swinging a sleeve or tossing the head, an actor uses different masks to show different emotions, expressing invisible and intangible feelings through visible and tangible masks. From green to blue, red, yellow, brown, black, dark and gold, these masks show fear, tension, relaxation, slyness, desperation, outrage, and so on.

Sichuan Opera master Peng Denghuai changed 14 masks in 25 seconds, and reverted to four masks after revealing his true face. This was his latest Guinness World record, breaking his previous one. Hong Kong super star Andy Lau was said to respect Mr. Peng as teacher and mentor in this stunt.

Today hi-tech is used to enhance this traditional art. Lasers and twinkling lights add a touch of mystery. And modern faces like Zorro are invited to the stage.

Sichuan Opera, like hot-pot and other Sichuan cuisine winners, is exciting, rich and good-natured.

Nuo Drama (Nuo Xi)-Living fossil of Drama

History of Nuo Drama
       

The Chinese character Nuo originally meant a patterned step to drive away evil during the last month of the Chinese lunar year. Later, Nuo evolved into a dance.

Nuo has a long history; historical records disagree on when the practice first appeared. Some hold that Nuo started by the order of Zhuan Xiang, the grandson of Huang Di, while others hold that it began during the Zhou Dynasty. Despite the 1000 years' difference, the purpose of Nuo was to drive away devils, disease and evil influences, and to petition for blessings from the gods. At this time, Nuo was a sacrificial activity.

It was probably during the Song Dynasty that Nuo became a drama. Nuo Drama is the most direct and important expressive media of Nuo culture. It covers primitive religion, folklore and art, and integrates literature, music, dance, drama, painting, calligraphy, sculpture, and paper-cut. Nuo Drama has great artistic value and is called the living fossil of drama.

Nuo Drama Mask
       

Masks carved out of quality camphor or willow wood are the soul of Nuo Drama. These two kinds of wood are durable and easy to carve. Furthermore, folklore holds that they contain spirits. A mask also has religious implications; as the symbol and medium of a spirit, masks are governed by strict rules. People believe that after performance of a certain ceremony upon its completion, a mask becomes a living god. Women are not allowed to touch a mask, much less put one on.

Studies show that the influence of the Nuo Drama mask extends to the facial painting of Beijing Opera and the face changes of Sichuan Opera.

Nuo Drama was at one time very popular in every part of China, but with social development faded out in most parts, remaining popular only in southwest China, such as Guizhou, in eastern Yunnan, southern Sichuan and Chongqing, in southwest Hubei and western Hunan and in northern Guangxi. Nuo Dramas vary considerably in different areas.

Guizhou Nuo Drama
Guizhou is the center of Nuo Drama in southwestern China, while Dejiang in northeast and Anshun in southwest Guizhou province are centers for Nuo Drama.

In Tunbu around Anshun, Nuo Drama is the primary entertainment activity. Nuo Drama here is a branch of the ancient Military Nuo. Musical instruments include one gong and one drum. The drummer is very important during a performance. A patch of land serves as a stage. As a result, Nuo Drama is also called Dixi (ground drama).

The only two occasions for the performance of Nuo Drama are at Spring Festival (Chinese New Year) and at the middle of the 7th moon when rice tassels. The religious meaning is obvious. People hope the drama can drive away bad luck and bring good harvest. Year after year, numerous locals are attracted to this performance. Sometimes a drama can last a dozen days.

The number of masks used in one drama ranges from several dozen to two hundred. There are five kinds of masks used in Nuo Drama, namely: civilian general, military general, old general, young general and woman general with other minor roles like soldiers and Taoist monks. Generally speaking, the good are stately and dignified while the bad are ferocious. Mask carving abides by a set of strict rules. For example, eyebrows should be like a line for woman, an arrow for young generals and like fiery flames for military generals. The changes of facial expressions and decorations show the character of the figures in a Nuo Drama. They may be brave, ferocious, powerful, composed, arrogant, sly, tender, or amiable. Decorations include butterflies, grass, flowers, and ivies familiar to the locals.

As is true in most other areas, Nuo Drama in Tunbu is the privilege of men. The moment a dancer puts on his mask, he will not speak or act casually since putting on a mask means the spirit is on him already.

 Yunnan Nuo Drama
Leopard Nuo Drama in Chuxiong, Yunnan, differentiates itself by the fact that all dancers are painted with a leopard pattern on their nude bodies. The ferocious and agile leopard is regarded as the most qualified to drive away devils. Leopards are played by twelve Yi boys about 10 years old. On the morning of the performance, young dancers will have the leopard pattern painted on their backs, hands, feet, and belly in black, white, red, and yellow colors. A yue-kin, a four-stringed plucked instrument with a full-moon-shaped sound box, is painted on their chests. Their faces are covered with palm leaves, and their heads are decorated with two pheasant tails. When the make-up is finished, dancers enter the role of leopards, prohibiting further talking.

Village rooftops connected by ladders or wood panels form the stage for the "leopards" At the climax of the dance, leopards run after young girls watching the show until the girls take them home where snacks have been prepared. Leopards eat some snacks as well as throw away some while continuing to dance. This devil-dispelling activity is performed in the rooms, kitchens and stalls of one family after another; the leopards dispel devils for all the villagers.

Nuo Drama is popular among many ethnic groups in Hunan where both facial painting and masks are used.

Guichi Nuo Drama from Anhui is special because it is performed on a clan basis not by a troupe as in other places.

Shan Gu Nuo Drama in Quwo, Shanxi is worth noting as it is the only Nuo Drama preserved in the Yellow River area. The accompanying Shangu is a fan-shaped tambourine. The drama is staged from the 7th to the 15th of the 1st moon for the Lantern Festival.

In addition, Nanpu Nuo Drama from Zhangzhou, Fujian province, and Nanfeng Nuo Drama from Nanfeng, Jiangxi, are representative of local dramas.

Though much like the Japanese classical drama Noh, not enough importance is attached to Nuo Drama in China. It is still a folk art with a strong religious color. This, on one hand, preserves the authentic flavor of Nuo Drama, but on the other hand, Nuo Drama faces great difficulties in developing successors and in financing. Making Nuo Drama masks provides more income than does performing. Young people are no longer interested in the art; the youngest actors of Nuo Drama in many places are at least 40 years old.