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Thus, Peking opera is not a monolithic form, but rather a coalescence of many older forms. However, the new form also creates its own innovations. The vocal requirements for all of the major roles were greatly reduced for Peking opera. The Chou, in particular, rarely has a singing part in Peking opera, unlike the equivalent role in Kunqu style.
The wusheng (Chinese: 武生; pinyin: wǔshēng; lit. 'martial sheng') is a martial character for roles involving combat. They are highly trained in acrobatics, and have a natural voice when singing. [4] In Peking opera, wusheng is further divided into two subcategories based on the character's costume: [1]
Most studies of Peking opera classify the Chou as a minor role. Chou roles can be divided into Wen Chou (文丑), civilian roles such as merchants and jailers, and Wu Chou (武丑), minor military roles. The Wu Chou is one of the most demanding in Peking opera, because of its combination of comic acting, acrobatics, and a strong voice.
The Jing (simplified Chinese: 净; traditional Chinese: 淨) is a role type in Chinese opera for "rough" or "mighty" male characters. [citation needed] In many genres (such as Peking opera and Cantonese opera), this role requires heavy face painting. As a result, it is also known as Hualian ("Painted face").
Dan is the general name for female roles in Chinese opera, often referring to leading roles.They may be played by male or female actors. In the early years of Peking opera, all dan roles were played by men, but this practice is no longer common in any Chinese opera genre.
In Cantonese opera, the leading male role is usually the wenwusheng (Chinese: 文武生; Jyutping: man-mou-saang, Hakka: vun-vu-sang, "civil wusheng") which combined the xiaosheng and the wusheng into one role. (On the other hand, the junior wenwusheng or the secondary male role is known as the xiaosheng or siu-saang. [6])
Zhou, a native of Cixi, Ningbo, Zhejiang, was born on January 14, 1895, in Qingjiangpu, Jiangsu into a family with a tradition of opera performances. He started learning Peking Opera when he was six, and made his debut in a child role in Hangzhou at the age of seven, thus acquiring the stage name "Qi Ling Tong" or "Age-Seven Boy".
The Ming era solidified the visual and symbolic role of water sleeves, with their rippling movements likened to flowing water, enhancing the emotional resonance of performances. In the Qing dynasty, water sleeves reached their peak in artistry and refinement, particularly within Peking opera. Performers developed intricate techniques such as ...