仁愛版英語八下課外鏈接：京劇介紹

1、課外鏈接：京劇介紹BeijingOperacombinesmusic,acrobaticdance,andspectacularcostumestotellstoriesfromChinesehistoryandfolklore.Usingabstract,symbolicgesturesrichindramaticmeaning,actorsrepresentpersonagesfromtheheroic,divine,andanimalworlds,ofteninmartialexploits.Thetraditionalfeaturesofthemasklikemakeupandelab

2、oratecostumesimmediatelyidentifythecharacterstoaknowingaudience.FourFamousDanActors四大名旦StagePropsinPekingOpera京劇道具TypesofFacialMake-upinBeijingOpera京居U臉譜RolesinBeijingOpera京劇的角色XipiandErhuang西皮和二簧WenchangandWuchang文場和武場PiaoYouandXiaHai票友和下海LongtaoandFigurant"fe套和跑龍?zhí)譗iba起霸Liangxiang亮相京居臉譜(Beijin

3、goperatypesoffacialmakeupinoperas簡介(Introduction)：Beijingoperatypesoffacialmakeupinoperas,isaspecialfeatureofanationalcosmetic.Aseachhistoricalfigureoracertaintypeofpersonhasanapproximatespectraltype,likesing,playmusictothemusic,socalled“typesoffacialmakeuioperas"Onthetypesoffacialmakeupinopera

4、ssources,thegeneralviewisfrommask.Beijingoperatypesoffacialmakeupinoperasarebasedoncertainpersonality,temperamentorsomespecialtypesoffiguresfortheuseofcertaincolors.RedhasexpressedhisWarriorsofstrongtypesoffacialmakeupinoperassuchasGuanYu,concubinesVictoria,regularbook;Blacksaidthetypesoffacialmakeu

5、pinoperasmingcriticizedpeople,integrity,braveryandevenreckless,suchasZhengandZhangFei,Li;Yellowtypesoffacialmakeupinoperasthatviciousbrutality,suchasYuChengdu,andDianWei.Blueorgreentypesoffacialmakeupinoperasthatsomeofthefiguresrepresentedirritable,suchasDouAmbassador,MaWu;Generaltreacherouscourtoff

6、icialsaidthetypesoffacialmakeupinoperaswhite,badguys,suchasCaoCao,Zhaohigher.Beijingoperatypesoffacialmakeupinoperasofcolorpaintingmethods,basicallydividedintothreecategories:rubface,facetowel,differentfaces.Typesoffacialmakeupinoperasinitialroleisexaggeratedherrolewithstrikingplacesandfacetheveins,

7、usingexaggeratedbytheperformanceofdramatispersonaeofpersonality,psychologicalandphysiologicalcharacteristics,andusingthistotheentiredramacircumstances,butLatertypesoffacialmakeupinoperasbyKantocomplex,fromroughtothesmall,Youbiaojili,fromshallowtodeep,itselfbecominganationofcharacteristics,tothefacia

8、lexpressionmeansforthepictorialarts.中文對照：京劇臉譜,是具有民族特色的一種特殊的化裝方法.由于每個歷史人物或某一種類型的人物都有一種大概的譜式,就像唱歌、奏樂都要根據(jù)樂譜一樣,所以稱為臉譜.關(guān)于臉譜的來源,一般的說法是來自假面具.京劇臉譜,是根據(jù)某種性格、性情或某種特殊類型的人物為采用某些色彩的.紅色有臉譜表示忠勇士義烈,如關(guān)羽、姜維、常遇春；黑色的臉譜表示剛烈、正直、勇猛甚至魯莽,如包拯、張飛、李逵等；黃色的臉譜表示兇狠殘暴,如宇文成都、典韋.藍色或綠色的臉譜表示一些粗豪暴躁的人物,如竇爾敦、馬武等；白色的臉譜一般表示奸臣、壞人,如曹操、趙高等.京劇臉譜

9、的色畫方法,根本上分為三類：揉臉、抹臉、勾臉.臉譜最初的作用,只是夸大劇中角色的五官部位和面部的紋理,用夸張的手法表現(xiàn)劇中人的性格、心理和生理上的特征,以此來為整個戲劇的情節(jié)效勞,可是開展到后來,臉譜由簡到繁、由粗到細、由表及里、由淺到深,本身就逐漸成為一種具有民族特色的、以人的面部為表現(xiàn)手段的圖案藝術(shù)了.京劇在塑造人物方面有其獨特的造型語言.它把不同性別、性格、年齡、身份的人物劃分為不同的行當,一般說來有"生、且、凈、丑四大行當.由于京劇人物造型形象鮮明、風格多樣,有強烈的劇場效果,常常更易于激起觀眾的欣賞興趣.生行京劇中的“生",一般指劇中扮演男子的演員,其中又可細分為

10、“老生"、"小生"和"武生"."老生",顧名思義就是中老年男子角色,在劇中多扮演正直剛毅的人物形象,例如京劇?伍子胥?中的伍子胥.他們演出時要戴掛在耳朵上的假胡須,在京劇的行話中也叫"髯口",因此還專門有一套髯口上的表演功夫.胡須的顏色表示了人物的年齡.京劇?四郎探母?中的楊四郎年約三十歲,所戴胡須為黑色.京劇?秦香蓮?中王延齡年約六十,所戴胡須為白色.老生在劇中一般注重演唱和細膩表演,唱腔上也最為豐富.臺詞用京劇中的韻白來表現(xiàn),演唱用真聲,風格剛毅、挺拔、質(zhì)樸、醇厚,動作造型也以雍容、端方、莊重為基調(diào).

11、與老生相對應的是“小生",在京劇中指青少年男子角色,他們在劇中的動作造型儒雅倜儻、秀逸飛動.在演唱上采用真假聲結(jié)合的唱法,演唱風格華美和明亮.例如京劇?白蛇傳?中的許仙.武生是指扮演劇中年輕的男性武將,他們用高超的武打技術(shù)來展示劇中人物的武藝高強.不重演唱,注重武打動作的嫻熟和技巧的難度.例如京劇?長坂坡?中的趙云.RoleofShengTherolesontheChineseoperastagefallintofourcategories-Sheng,Dan,JingandChou.Theseroleshavethenaturalfeaturesofageandsex,aswell

12、associalstatus,andareartificiallyexaggeratedbymakeup,costumeandgestures.Sheng,amalerole,usuallyaleadingone,datesbacktoSouthernDramaoftheSongandYuanDynasties(960-1368).Thisroleappearsinoperasinallhistoricalperiods.Accordingtotheageandsocialstatusofthecharacters,Shengfallsintofivesub-groups:Laosheng,X

13、iaosheng,Wusheng,HongshengandWawasheng(charactersofchildren).LaoshengisalsoknownasXusheng,meaningbeardedmen,becausetheactorswearartificialbeards,andtheyaremiddle-agedorelderlymen.Mostareuprightandresolutecharacters.Theysingintheirnaturalvoices,andtheiractionsareseriousones.Xiaoshengisasub-categoryof

14、Shengrepresentingyoungmalecharacters.Theydon'twearartificialbeards.Theyalwayssingintheirrealvoices,whileinKunquandPihuangoperasthesingingmixesnaturalandfalsettovoices.Wushengstandsforallofthemalecharacterswhoappearinbattlescenes.TheyarefurthersubdividedintoChangkaoWuheng,DuandaWusheng,GoulianWus

15、hengandHouxiWusheng.Theyalwayswearhelmetsandthick-soledboots.Thegeneralsalwayscarrylongpikes.Wushengrolescallforsturdyandvigorousactions,withresoundingdeclamations.Themovementsofthewaistandlegsarepowerful,andahighlevelofmartialartsskillsisdemandedintheseroles.DuandaWushengrolesuseshort-handledweapon

16、s,andtheirmovementsarelightandswift.旦行京劇中把女性統(tǒng)稱為"且",其中根據(jù)人物的年齡、性格又可細分為許多行當,飾演大家閨秀和有身份的婦女稱為“正旦",正旦在京劇中俗稱“青衣",這就是因為正旦所扮演的角色常穿青色的長衫而得名.京劇?竇娥冤?中的女主角竇娥就是典型的青衣角色.青衣的表演莊重嫻靜,秀雅柔婉,以唱功為主,一般說來,青衣的唱腔旋律優(yōu)美,細膩婉轉(zhuǎn).旦行中的“花旦,多扮演天真活潑或放縱潑辣的青衣婦女,在表演上注重做工和念白,例如?紅娘?中的紅娘."武旦"和"刀馬且“相當于生行中的武生,扮

17、演的是擅長武藝的青壯年婦女,裝扮和武生差不多,也扎靠服,她們多在劇中扮演女俠、女將甚至女仙、女妖等.武旦和刀馬旦的表演往往還伴隨著熱鬧的鑼鼓點,襯托場上的氣氛."老旦,指在劇中扮演老年婦女的角色行當.為突出老年人的特點,走路邁一種沉穩(wěn)的橫八字步,服裝色調(diào)為色彩偏暗的秋香色、墨綠色,演唱用真聲表現(xiàn).RoleofDaninPekingOperaTherolesontheChineseoperastagefallintofourcategories:Sheng,Dan,JingandChou.Theseroleshavethenaturalfeaturesofageandsex,aswel

18、lassocialstatus,andareartificiallyexaggeratedbymakeup,costumeandgestures.DanisthegeneralterminPekingOperaforfemaleroles.AsearlyasintheSongDynasty(960-1279),theZhuangdanroleappeared.SouthernDramaandNorthernZaju,whichdevelopedduringtheSongandYuanDynasties(960-1368),alsohadDanroles.AfterKunqumatured,it

19、hadZhengdan,Xiaodan,TidanandLaodan.Later,moreDantypesweredeveloped.Nowadays,theDanrolesaresubdividedintoZhengdan(orQingyi),Huadan,Wudan,LaodanandCaidan,inaccordancewithage,characteristicsandsocialpositionsoftheroles.ZhengdanrolewasthemainDanroleintheNorthernZaju.Zhengdanreferstoyoungormiddle-agedwom

20、enwithgentleandrefineddispositions.MostofZhengdan'slinesaredeliveredinsong,andeventhespokenpartsarerecitedinrhythmicstyle.Alwaysdressedinabluegown,ZhengdanisalsocalledQingyi(blueclothes).Huadanisaroleforavivaciousmaiden,ayoungwomanwithafrankandopenpersonality,orawomanofquestionablecharacter.Wuda

21、nreferstofemalecharactersskilledinthemartialartsandcanbesubdividedintoDaomadanandWudan,accordingtothesocialpositionsandskillsrepresented.Daomadanisgoodatusingpikesandspears,andatridinghorses.Wudanalwayswearsshortrobesandtheroleemphasizesacrobatics.Wudanplaysgodsandghostsandhasexcellentfightingskills

22、.Laodanusuallyrepresentsagedwomen.He/Shesingsintheirnaturalvoices,inastylesimilartothatofLaoshengbutinmildertones.Insometypesofopera,LaodaniscalledFudanorBodan.Caidan,alsocalledChoudan,representsclownishandcunningfemales.Theperformanceofthispartcallsforexuberance.凈行在京劇中,"凈角是舞臺上具有獨特風格的人物類型,臉部化裝最

23、為豐富彩."凈"因面部化裝要用各種色彩和圖案勾勒臉譜,所以又俗稱"大花臉".一般扮演品貌或者性格有特點的男子,在京劇中多為將軍、神化人物或有一定社會地位的人,雖有文武善惡之分,但在性格氣質(zhì)上都近乎粗暴、奇?zhèn)?、豪邁,因而在演唱上要求用真聲演唱,音色寬闊洪亮、粗壯渾厚,動作造型也要求粗線條,氣度恢宏,以突出扮演人物的性格和聲勢.RoleofJingTherolesontheChineseoperastagefallintofourcategories:Sheng,Dan,JingandChou.Theseroleshavethenaturalfeatures

24、ofageandsex,aswellassocialstatus,andareartificiallyexaggeratedbymakeup,costumeandgestures.Jingreferstopainted-faceroles,knownpopularlyasHualian.Thedifferentcolorsanddesignsonthefacesrepresentmaleswithdifferentcharacteristics.Someareboldandvigorousandsomearesinister,ruthless,crudeandrash.Thevoiceislo

25、udandclear,andthemovementsareexaggerated.TheJingroleoriginatesfromtheFujingroleoftheSongZaju.TheJingrolesgraduallyincreasedinnumber,andbecamefurtherdividedintoseveralgroups,accordingtothedifferentsocialpositionsandcharactersoftheroles.DahualianwithafullypaintedfaceisknownasZhengJing.Therolesrepresen

26、tmenofhighsocialstandingandgoodbehavior,oftencourtministers.ZhengJingsingsinvigorousandsturdytones.Erhualian,alsoknownasFuJing,haspowerfulbodilymovementsandsturdysingingvoices.Somerolesinthisgrouprepresentrascallyministers,recognizablebytheirwhitefaces.Wu'erHualianisalsoknownasWuJing.Thisroleism

27、orephysicalthanmostoftheothers,withlittlesingingorreciting.YouHualian,alsoknownasMaoJing,isaclownishrole.SomeofYouHualianroleshavespecialskills,suchasspoutingfirefromthemouthorbaringtheteeth.丑行京劇中的"丑角演員又稱為“小花臉"."丑"行的化裝雖與大花臉有點相象,可是他的表演風格卻完全不同,有點像夸張的漫畫.丑角的出場常會帶來滿堂的笑"丑"分&q

28、uot;文丑"和"武丑"兩類.武丑扮演的經(jīng)常是一些機敏幽默、武藝高超的人物,象綠林好漢、俠盜小偷等等."文丑經(jīng)常扮演花花公子、獄卒、酒保、更夫、老兵等.不管文丑或武丑,雖有文武善惡、身份上下之分,在劇中都是幽默、滑稽的喜劇人物,也并不都是反派.京劇的行當是經(jīng)過長期的提煉和標準,突出人物的內(nèi)在特征,把人物的內(nèi)在特征加以外化而形成的,是京劇與其他戲劇形式不同的重要特征.RoleofChouinPekingOperaTherolesontheChineseoperastagefallintofourcategories:ShengDan,JingandChou.Theseroleshavethenaturalfeaturesofag