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Japanese theatrical masks. Traditional Chinese Mask Theater at Noh Theater

Japanese theatrical masks. Traditional Chinese Mask Theater at Noh Theater

20.06.2019

theatrical masks, ~ ritual masks, ~ carnival masks

Masque Le masque représente le plus souvent une partie de tête humaine ou animale terminée par des plumes ou des feuilles.

Masqué Se dit d "un animal qui a la tête couverte d" un capuchon. 1772 Se dit d "un lion qui a un masque. 1780 Se dit d" un lion qui a un masque. 1864 Se dit d "un lion qui a un masque. 1887 Se dit d" un animal qui a la tête couverte d "un capuchon.

The mask can have both unifying (masking) and identifying values.

In many, including non-literate cultures, masks express the presence of supernatural beings (spirits, demons, gods). Wearing a mask is a way of identifying with what it embodies: the wearer of the mask feels himself internally transformed, acquires for a while the qualities of the being represented by the mask. Thus, the ancient masks depicting animals served as a means of making contact with the spirit of the beast, which was preparing to hunt, and protection from its attack.

Later totem masks allow members of the tribe to identify themselves with spirits and ancestors. Mask-deity - a receptacle or habitat of a deity or an ancestor, endowed with mystical power, is considered as an effective means of protection (to scare away enemies, expel demons, diseases or spirits of death) and communication with ancestors and / or gods. Wearing masks during rituals or ritual dances, their carriers manifested the presence of the depicted creature. In primitive cultures, this identification was complete (the animal mask had the same property as the skin in which the magician dressed up): the one who wears the mask is the one whose mask he puts on.

Masks were often "absolutized" and regarded as independent objects of worship. The connection of masks with the world of powerful beings endows it with an apotropaic meaning. The practice of using masks as a means of expelling evil spirits is widespread.

Endowed with a magical property, the martial mask provides invulnerability and supernatural strength; She turns a mere mortal into a hero. This is confirmed by the modern military uniform, which guarantees the one who wears it a special position in society.

Masks or head bags are used in African, Native American and Oceanic initiation rituals that mark the transition from childhood to adulthood.

Funeral masks that convey the appearance of the deceased are widely used as a means to preserve the facial features of the deceased and ensure the return of souls to their bodies - a thought that was of particular concern to the Egyptians and some other peoples. The destruction of the image of the deceased condemns the latter to eternal wanderings.

Being associated with transfiguration and transformation, it serves as a means of hiding transformation, which should be hidden from view. This intimacy helps "what-is" to become "what-would-be-want-to-be"; in this sense, the mask is like a butterfly chrysalis.

The meaning put into the mask is expressed through its facial expressions, material or form features (color, number of feathers, decorations, ornaments, etc.). Closely connected with the symbolism of dressing up (transvestism), carnival, etc.

Basic values:

protection, concealment, mystery, illusion, disguise, secrecy, shame;
anonymity;
duality, ambiguity;
recognition;
supernatural power;
transformation;
non-existence, rigor of death.

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Peking Opera (‹ћѕз jingju)
Scene in Beijing
History of masks
Masks (–К‹п mianju)
Mask change (±dBi bianlian)
Singing
Literature

Peking Opera (‹ћѕз jingju)

Peking Opera is the most famous Chinese opera in the world. It was formed 200 years ago on the basis of 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 opera parts "huidiao" were so easy to understand by ear that soon the opera became very popular with the capital's audience. In the next 50 years, the Huidiao absorbed the best from other opera schools in the country: the Beijing Jingqiang, the Kunqiang from Jiangsu Province, the Qinqiang from Shaanxi Province and many others, and, in the end, turned into what we are today. We call Peking Opera.

In 1935, the famous Chinese actor, master of disguise, famous for playing 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 ideas about Art. Since then, the Chinese theater game system has been recognized all over the world. Bright representatives of the three "big" theatrical systems (Russian, Western European and Chinese), having gathered together and exchanged experience, had a profound impact on the further development of theatrical art.

The name of Mei Lanfan and the Chinese "Beijing Opera" shocked the world and became one of the universally recognized symbols of beauty.

"Peking Opera" is a fusion of all genres of theatrical art (opera, ballet, pantomime, tragedy and comedy). Due to the richness of the repertoire, textbook plots, the skill of the actors and stage effects, she found the key to the hearts of the audience and aroused their interest and admiration. But the Peking 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 fragrant green tea with candied fruits. An indescribable game of actors, their complete reincarnation will make you completely transported into the fabulous, magical world of the Peking Opera.

The plays perfectly combine the work of writers-playwrights of the Yuan and Ming dynasties (1279-1644) and elements of circus art. The performance is conditioned by the traditions of the 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 skills, these are the "four skills" and "four tricks".

The first four are singing, reciting, impersonation and gesticulation; the second four are "hand play", "eye play", "body play" and "steps".

Scene in Peking Opera

Among male roles, there are several roles: a young hero, an elderly man and a commander. Women are divided into "qingyi" (the role of a young woman 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 heroines). The hero "jing" can wear the masks "tongchui", "jiazi" and "wu". Comedy roles are divided into scientists and military. These four characters are the same for all schools of Peking Opera.

Make-up in Chinese Opera (BiZhCh lianpu)

Another feature of the Chinese opera house is makeup. For each role there is a special make-up. Traditionally, makeup is created according to certain principles. It emphasizes the features of a certain character - it can be easily determined from it whether an actor plays a positive or negative character, whether he is decent or a deceiver. In general, there are several types of makeup:

1. The red face symbolizes courage, honesty and loyalty. A typical character with a red face is Guan Yu, a commander of the Three Kingdoms era (220-280), famous for his devotion to Emperor Liu Bei.

2. Reddish-purple faces can also be seen in well-behaved and noble characters. Take, for example, Lian Po in the famous play "The General Makes Up with the Chief Minister," in which the proud and quick-tempered general quarreled and then reconciled 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 Backwaters, and Wao Gong, the fearless, legendary and just 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 also indicates all the negative aspects of human nature: deceit, deceit and treason. Typical characters with a white face are Cao Cao, a power-hungry and cruel minister in the Three Kingdoms era, and Qing Hui, a cunning minister of the Song Dynasty who killed the national hero Yue Fei.

All of the above roles belong to the category under the general name "jing" (an ampulla of a man with pronounced personal qualities). For comedy characters in the classical theater there is a special kind of makeup - "Xiaohualian". A small white spot on and around the nose indicates a narrow-minded and secretive character, such as Jiang Gan from The Three Kingdoms, who fawned over Cao Cao. Also, a similar make-up can be found in a witty and playful servant boy or commoner, whose presence enlivens the whole performance. Another role is jesters-acrobats "uchou". A small speck on their nose also indicates the cunning and wit of the hero. Similar characters can be seen in the novel "River Backwaters".

History of masks

The history of masks and make-up begins with the Song Dynasty (960-1279). The simplest examples of make-up have been found 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 ornaments 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 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 his handsome face did not inspire 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 after that a masked dance performance appeared, demonstrating the assault on the fortress of enemies. Apparently, in the theater, masks were replaced by make-up.

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 expression on the actor's face 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 3500 years ago. They were an essential element of Chinese shamanism. Serving the deity who saved from the plague included dancing and singing spellcasters, which were unthinkable without masks. Even in our time, national minorities wear masks during religious rituals, weddings and funerals.

Chinese masks are mainly made of wood and are worn on the face or head. Although there are many masks of demons, evil spirits and mythical animals, each of them conveys a special meaning. Chinese masks can be divided into the following categories:

1. Masks of dancers-casters. These masks are used in sacrificial ceremonies among small ethnic groups to scare away evil spirits and pray to deities.

2. Festive masks. Similar masks are worn during holidays and festivities. 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 the ceremony dedicated to the birth of a child.

4. Masks protecting the house. These masks, like those of the caster dancers, are used to ward off 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 which the image of the hero is created, therefore they are of great artistic importance.

Witch masks (SCHRGzhѕЯnuomianju). These unique masks are the result of the work of Guizhou artisans. Masks are carved from wood and tree roots. Some masks are only a few centimeters high, while others reach up to two meters. The masks of the Miao people casters are a real gem of Chinese folk art.

Initially, witch masks appeared in central China. Once in Guizhou, the masks became popular with local shamans, who turned to the legendary Fu Xi and Nu Wa in their divination. The Chinese ruler Fu Xi taught people how 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 are the machinations of evil spirits and demons. Therefore, during divination, they put on masks to appear larger and scare away evil forces. Ritual dances were also arranged 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 sleeves in white silk (ђ…‘і shuixiu)

Often in performances of traditional Chinese theater, long and predominantly white sleeves can be seen. As a rule, they reach a length of half a meter, but there are also samples over 1 m. From the 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. By waving such sleeves, you can distract the viewer's attention between games, convey the feelings of the hero and add color to his portrait. If the hero throws his sleeves forward, it means that he is angry. The shaking of the sleeves symbolizes the trembling of fear. If an actor throws up his sleeves to the sky, it means that a misfortune has just happened to his hero. If one hero flaps his sleeves, as if trying to shake off the dirt from the suit of another, he thus shows his respectful attitude. Changes in the inner world of the hero are reflected in the change of gestures. Long sleeve movements are among the basic skills of an actor in traditional Chinese theater.

Change of masks

Changing masks is a real trick in traditional Chinese theater. Thus, a change in the mood of the hero is displayed. When panic turns to rage in the hero's heart, the actor must change his mask in a matter of seconds. This trick always delights the audience. The change of masks is most commonly used in Sichuan theatre. 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 deftly change masks with each turn, which is obtained only as a result of lengthy training. Sometimes several layers of masks are used, which are torn off one after another.

chinese opera mask theater

Singing

Singing occupies a very important place in the Peking Opera. The sound itself is of great importance here. The uniqueness of the performance, the bewitching sound is determined by a deep knowledge of phonology, singing technique and the achievement of harmony between 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 his own person. Breathing plays a very important role in the performance of the party, while singing they use "change of breath", "secret breathing", "breathing" and other techniques. After its formation, the "Peking Opera" became a rich collection of singing skills. Unusual use of the voice, timbre, breathing and other aspects are used to achieve the greatest stage effect. Although at first glance, the singer is required to absolutely observe the canons of Chinese traditional performing arts, it is through them that the individual vision and talent of the artist is manifested.

Recitation in the "Peking Opera" is a monologue and dialogue. Theatrical proverbs say: "sing for the vassal, recite for the master" or "sing well, speak excellently." These proverbs emphasize the importance of saying monologues and dialogues. Theatrical culture throughout history has developed based on the totality of the requirements of high performing arts and has acquired bright, purely Chinese characteristics. This is an unusual style and three types of recitation for various 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 gestures. These four elements are fundamental in the art of the master. They run like a red thread from the beginning to the end of the performance. Acting also takes many 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, tightened movements in combination with rhythmic music, and the mastery of the "prose style" - the performance of free movements to the "loose" music.

In "rhyming style" the most important element is the dance. Dance skills can also be divided into two types.

The first type is song and dance. Artists simultaneously with song and dance create pictures and scenery in front of us. 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 dance corresponding to it, draws this landscape and the state of the character in front of us (there are no scenery in “P.O.”).

The second kind is purely dance. Artists use only dance moves to convey the mood and create a complete picture of what is happening. Throughout the history of theater development in China, folk dances have been staged. During the Ming Dynasty (1368-1644), small performances-novellas were often created and played on the basis of folk dance motifs.

Gesticulation is the 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 the "military hero", "military heroine" and "warrior woman". All the scenes of a brutal war in the performances are made up of acrobatic stunts, there are even special "military plays". Playing the "old man" you can not do without acrobatic tricks because - sometimes the "old man" also needs to "wave his fists." The art of gesticulation is the "Gong Fu" that every character and, accordingly, an actor must possess.

In each part of the performance, the artist uses special ways of playing: "playing with hands", "playing with eyes", "playing with the body" and "steps". These are the "four skills" that have already been mentioned above.

Hand play. Actors say: "You can identify the master by one movement of the hand," therefore "playing with the hands" is a very important element of the 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 have such names: "Lotus fingers", "old woman's palm", "lotus fist", etc. Men's - "outstretched palm", "fingers-swords", "clenched fist". Also, the positions of the hands have very interesting names: "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", "trembling hands", "raising hands", "unfolding hands", "pushing hands", etc.

People often refer to the eyes as 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 the actor's eyes do not express anything during the game, then the vitality is lost. In order for the eyes to be alive, the masters of the theater pay great attention to their inner state. This helps them feel the difference between such concepts as "look", "look", "aim", "look closely", "consider", 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."

Body play is various positions of the neck, shoulders, chest, back, lower back and buttocks. A slight change in the position of the body can convey the internal state of the character. Although this is a complex, but very important theatrical language. In order to properly master it, to move naturally and accurately, the artist must comply with certain laws of body position. Such as: the neck is straight, the shoulders are even; loins straight chest forward; belly tucked up buttocks clamped. When the lower back serves as the center of the whole body during movement, then we can say that the whole body works in concert. The proverb says about this: "One movement or a hundred - the beginning is in the lower back."

Steps. By "steps" we mean theatrical poses and movements on the stage. There are several basic postures and steps in Peking Opera. Postures: straight; the letter "T"; "ma-bu" (legs apart, weight distributed evenly on both legs); "gun-bu" (body weight shifted to one leg); rider posture; relaxed stance; "empty legs" Ways of steps: "cloudy", "crushed", "circular", "dwarf", "fast", "crawling", "spreading" and "minching" (those who are familiar with wushu will find many in common with the terminology adopted in Chinese martial arts). Actors believe that the steps and poses on the stage are the foundation of the performance, they play the role of basic movements that carry the possibility of endless changes, which, in turn, are used by the master to convey their feelings to the viewer. On these eight whales - "four ways of playing" and "four types of skill" stands "Peking Opera". Although this, of course, is not all. After all, the foundation of the pyramid of art of the "Peking Opera" is laid deep in the culture of China. But the scope of the article does not allow to fully experience the beauty and depth of this theatrical performance.

Literature

Morkovskaya, Lisa. Peking Opera Masks // Around the World. 2006. No. 8 (2791).

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The stage in the Peking Opera does not take up much space, the scenery is the simplest. The characters are clearly defined. The female roles are called "tribute", the male roles are called "sheng", the comeid roles are called "chou", and the hero with different masks is called "jing". Among male roles, there are several roles: a young hero, an elderly man and a commander. Women are divided into "qingyi" (the role of a young woman 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 heroines). The hero "jing" can wear the masks "tongchui", "jiazi" and "wu". Comedy roles are divided into scientists and military. These four characters are the same for all schools of Peking Opera.

Makeup in Chinese opera (脸谱 lianpu)

1. The red face symbolizes courage, honesty and loyalty. A typical character with a red face is Guan Yu, a commander of the Three Kingdoms era (220-280), famous for his devotion 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 Up with the Chief Minister," in which the proud and quick-tempered general quarreled and then reconciled with the minister.

4. Green faces indicate heroes who are stubborn, impulsive, and completely lacking self-control.

3. According to a 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 expression on the actor's face from a distance.

1. Masks of dancers-casters. These masks are used in sacrificial ceremonies among small ethnic groups to scare away evil spirits and pray to deities.

2. Holiday masks. Similar masks are worn during holidays and festivities. 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 the ceremony dedicated to the birth of a child.

4. Masks protecting the house. These masks, like those of the caster dancers, are used to ward off evil spirits. As a rule, they are hung on the walls of the house.

On stage, long sleeves are a way to create an aesthetic effect. By waving such sleeves, you can distract the viewer's attention between games, convey the feelings of the hero and add color to his portrait. If the hero throws his sleeves forward, it means that he is angry. The shaking of the sleeves symbolizes the trembling of fear. If an actor throws up his sleeves to the sky, it means that a misfortune has just happened to his hero. If one hero flaps his sleeves, as if trying to shake off the dirt from the suit of another, he thus shows his respectful attitude. Changes in the inner world of the hero are reflected in the change of gestures. Long sleeve movements are among the basic skills of an actor in traditional Chinese theater.

A characteristic feature of the art of the Chinese theater actor is the game with imaginary objects, the allegorical use of theatrical props. For example, a table, depending on the situation, can depict an altar, a table, a mountain, an observation platform; a hat wrapped in a red cloth - a severed head; black flags - wind; red flags are fire. The stage space is divided into two parts. One - around the circle of the proscenium - indicates the scene of action outside the room. For example, the street.

The other is the inner square of the stage - a home or palace room. The hero takes a step - this means that he goes outside the house; climbs on the table - it turns out to be on a hill. A wave of the whip - and the audience understands that he is racing on a horse. The two actors try to find each other and miss on the illuminated stage - everyone guesses that the action is taking place in the dark.

The symbolism of the Chinese theater is fundamentally different from the European one. The acting is also very far from any real life plausibility. It is based on canonized, refined conditional methods of expressiveness, stylized movements and gestures. All the plays of the traditional repertoire are divided into two large groups - wenxi (plays on civil, secular subjects) and wuxi (plays on military, historical themes, in which the main place is occupied by battle scenes built on acrobatics and fencing).

In the traditional theater, the system of roles is still preserved. All characters are divided into four groups:

[wen] - civilians and [y] - military;

By age, the characters are divided into [laosheng] - old people and [xiaosheng] - young people.

Dan (female roles) are divided into [qingyi] - a positive married woman, [zhendan] - a positive heroine, most often young, [huadan] - a servant, a courtesan, [daomadan] - a female warrior, [guimendan] - an unmarried young girl from noble house. By age, female roles are divided into [laodan] - an old woman and [xiaodan] - a young girl.

Jin combines characteristic roles, both positive and negative. The performers of these roles have bright make-up, masks, the manner of their play is emphatically hyperbolic. Chow - comic roles (male and female). Strict sets of visual techniques have been developed for each role.

Depending on the level of skill, actors were distinguished as brilliant, perfect (miao), divine (shen), beautiful, attractive (mei), skillful (nen).

Until the beginning of the 20th century, there were no mixed troupes in China. This was due to the fact that actresses were considered women of easy virtue and did not have the right to perform with men. Therefore, there were female troupes in which all the roles were played by women, and male ones. Interestingly, the Chinese believed that only a man is able to understand and express the female essence, the beauty of her soul and body.

The unique originality of the traditional Chinese theater is due to the fact that it lacked the differentiation into genres accepted by Europeans. The actor of such a theater had to equally master the art of stage speech and singing, gesture, pantomime, dance, elements of martial art. The absence of a box stage in such a theater gave rise to special techniques of stage expressiveness. Acting in an open area, the actor achieved close contact with the audience. The need to concentrate the attention of the audience to the utmost (in the old Chinese theater, the audience could drink tea during the performance), the vastness of the audience, the openness of the space gave rise to sharp accents in the performance, and the lack of scenery also required the actor to have great skill in playing with imaginary objects. An actor who played in any one role, having mastered the technique of performance to perfection, very rarely could switch to another role. Each group of roles has developed to the smallest detail, fixed by a century-old tradition, the techniques of stage expressiveness. The improvement and development of tradition was possible only within strictly defined boundaries. That is why it was so important to master the rhythmically organized speech in the traditional theater, the precise stage movement, when the actor conducts a dialogue with the help of “gesture language”.

In the Chinese theater, the movements of the actor's hands are worked out in detail - "denying" hands, "hiding" hands, "grabbing" hands, "crying" hands, "resting" hands, etc. restraint and stiffness of their movements. Folded female fingers symbolize femininity and grace.

The plastique of a traditional theater actor is almost statuary, perfected in poses. The movement of the hero is determined not so much by the circumstances of the play as it shows his character and even his social position. In the Chinese theatre, for example, the civic goodie, when walking, throws out his unbending legs to the sides and at the same time strokes his beard; the military positive hero walks with "tiger steps" - as if he glides and freezes in place, accelerating the pace of movement while leaving the stage; the “venerable matron” should not separate her legs from the stage when walking, the “seductive beauty” steps over, tightly squeezing her knees; "Comedian" has a hurried and crouching gait.

It is necessary to point out the special symbolism of the traditional Chinese theater. Symbols of color are widely used in make-up and costumes: emperors wear yellow suits, loyal, devoted and brave ministers and military leaders appear in red, evil and cruel people wear black, officials with a bad temper wear blue. Great importance is attached to a magnificent headdress. The symbolism of the make-up also spoke a lot to the audience: straightforward and persistent people have a red face; people of a violent nature - black, white in makeup means meanness, cruelty and all negative qualities. Demonic characters appear with a green face, while divine characters appear with a golden face. In addition to color designations, there are also drawings. For example, the monkey king has an image of a coconut on his forehead. If the actor has a coin on his temple, then the viewer is dealing with a money-lover.

In Chinese traditional theater, great attention was paid to the psychological development of the role. But the psychologism of the Eastern theater is also essentially different from that of the European theater. The actor of the Chinese theater must master the ways of external expression of feelings. Chinese traditional theater theory proposes eight psychological states or categories (pa-xing), each of which corresponds to a certain manner of behavior. In the treatise "The Mirror of the Enlightened Spirit" they are described as follows:

Noble - an impressive look, a straight look, a low voice, an important gait;

Poor - dejected look, motionless look, stooping, wet under the nose;

Low - good-natured look, looks askance, shoulders are raised, gait is fast;

· Stupid - kind of stupid, eyes bulging, mouth gaping, shaking his head;

Crazy - an angry look, a stopped look, screams and laughs, moves randomly;

The patient is exhausted, his eyes are watery, he breathes heavily, his body is shaking;

· Drunk - looking tired, cloudy eyes, limp body, unyielding legs.

There were four main emotions (si-zhuang) - joy, anger, sadness, fear.

Special skill was required for male actors to perform female roles. This skill was so great that women attended the theater in order to learn manners and femininity from male actors.

Training in the art of the actor was of a guild nature and began in early childhood - from 7-8 years. Performing traditions were passed down from generation to generation, the old experienced actor communicated his experience to his students, who were usually his children and grandchildren. All instructions were carried out by the students unquestioningly, and they spent most of their time in the classroom. In addition to full control of their bodies, they studied, for example, the art of painting in order to understand the meaning of the color and pattern of their costume and perform complex makeup.

Traditional Chinese theater is one of the developed types of Oriental art, in which, unlike European art, the principle of novelty has never been the main one. But this does not mean that the tradition does not know the slightest movement - just changes in it occur slowly, and in order to be accepted into the tradition, they go a long way, justifying the need for changes.

PEKING OPERA

The most widespread and most influential theatrical genre in China is the Beijing musical drama (Peking Opera) - jingxi. It was formed in the 18th century. Peking opera combines elements of singing, acrobatics and martial arts. Its features were a huge number of battle scenes and the clear rhythm that accompanied them, the intense development of the plot. Long performances running for several days in a row were very popular. Peking Opera is the national opera of China, one of the treasures of Chinese culture. The artistic school of Peking Opera divides the performance of opera into aria, recitative, gestures and acrobatics.

There are four categories of characters in Peking Opera: sheng, the hero; tribute - heroine; qing - a male character with a painted face; chow is a comic character. Depending on the nature of the role, the actor sang in a natural voice or falsetto. Traditionally, the female roles were played by men, these parts are sung in falsetto. The roles of young men - characters that came from the kunqu drama - are also performed in falsetto.

The costumes of the characters in the Beijing opera are borrowed from the wardrobe of the Chinese nobility during the Tang and Song, Ming and Qing dynasties. Mostly costumes from the period of the Ming Dynasty (1368-1644) are used, which, however, are not mechanically transferred to the stage, but made more colorful, their details are somewhat exaggerated. In most cases, the costumes are embroidered with bright patterned designs.

The music of Peking Opera is predominantly orchestral, with percussion instruments providing a deeply rhythmic accompaniment. The main percussion instruments are gongs and drums of various sizes and types. Ratchets made of hardwood or bamboo are also used. The main string instrument is jinghu (Beijing violin). Erhu (second violin) plays along with her. The plucked instruments are yueqin (moon-shaped mandolin), pipa (four-stringed lute), and xianzi (three-stringed lute). Sometimes the sona trumpet and the Chinese flute are also used. The orchestra is led by a drummer who makes a variety of sounds with bamboo sticks - loud, excited, quiet, soft, sentimental - and expresses the feelings of the characters in strict accordance with the acting.

The vocal part of Peking opera consists of speech and singing. Speech, in turn, is divided into yunbai (recitative) and jing-bai (Beijing colloquial speech); recitative is used by serious characters, colloquial speech - by young heroines and comedians. The chant has two main motifs: erhuang (borrowed from the folk melodies of Anhui and Hubei) and xipi (from the melodies of Shaanxi). In addition, Peking opera inherited the melodies of the older southern kunqu opera and some northern folk songs.

The traditional repertoire of Peking opera includes more than a thousand stories, of which two hundred are presented on stage even today. For example, in the opera Cunning with an Empty Fortress, the wise strategist Zhuge Liang is depicted deftly defeating his opponent Sima Yi; in the Gathering of Heroes, the kingdoms of Wu and Shu are shown defeating the army of the kingdom of Wei at the Red Rock on the Yangtze River; the hero of the opera "Revenge of the Fisherman" Xiao En kills a corrupt official; in the Triple Fork, the young officer and the owner of the inn in the dark, not recognizing each other, began to fight, trying to protect the patriot general Chiao Tza-n; The plot of the opera "Debauchery in the Heavenly Palace" is based on the legend of how the Monkey King eats the peaches of immortality of the Jade Lord and defeats the heavenly host.

In the course of the development of Peking Opera, many talented actors have developed a refined technique of singing and gestures, perfecting the traditional skills they learned from their mentors and displaying their own abilities. Mei Lanfang (1894–1961) was an outstanding performer of female roles in the Peking Musical Drama Theater. He created new complexes of acting movements and facial expressions, in particular, expressive glances, movements of the hands. Based on the traditional laws of vocals, he created his own performing school, which has many followers. Mei Lanfang toured in many countries of the world, including the USSR. His art was highly appreciated by K.S. Stanislavsky. The Peking Opera was made famous by such actors as Chen Yanqiu, Zhou Xinfang, Ma Lianliang, Tan Fuying, Gai Chiao-tian, Xiao Changhua, Zhang Junqiu and Yuan Shihai. Many young outstanding actors appeared, selflessly devoted to their beloved art.

Peking Opera does not lose its traditions, although today it is undergoing a process of transformation. Some techniques are borrowed from local operas and local dialects are used, which gives the audience a sense of liveliness and novelty.

LOCAL OPERA GENRES

Pingju dates back to the end of the Qing Dynasty (1644–1911) and the beginning of the Republic. Descended from the folk opera of Hebei Province, known as Lianhualao, then adopted the technique of singing and gestures from the Hebei opera Ban Zi (“ratchet”), from the Beijing Opera, the shadow theater of the Luanzhou region. The action is accompanied by a small drum and other instruments. The pingju genre is also popular in Beijing, Tianjin, Hebei province in northeast China. His melodies, dialogues and gestures are borrowed from folk life, so they are easy to understand and appreciate. After the 1949 revolution, pingju plays focused on contemporary themes.

Yuju(Henan opera), or henan banzi, originated in the Qing era from local folk performances that absorbed elements of Shanxi opera and Puzhou banzi. This gave it a lively, simple, colloquial character. By the end of the Qing Dynasty, Henan opera had spread to the 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 at the end of the Qing Dynasty based on the folk songs of Shengxian County, Zhejiang Province. Incorporated vocal and stage elements of local operas. Later, influenced by the new drama and the old kunqu opera, it became popular in Shanghai, Jiangsu and Zhejiang provinces. The soft, melodic music of the Shaoxing opera is most suitable for conveying tender feelings; the manner of acting is also graceful and refined.

qinqiang(Shenxi opera) appeared in the Ming era (1368-1644). The singing here is loud and clear, the rattles beat a clear rhythm, the movements are simple and energetic. The qinqiang genre was widely popular in the late Ming-early Qing era and influenced a number of other types of local opera. Now the Shaanxi Opera gathers a lot of spectators in the provinces of Shaanxi, Gansu and Qinghai, its traditional repertoire includes over 2,000 works.

Kunqu(Kunshan Opera) originated in Kunshan County, Jiangsu Province as early as the end of the Yuan Dynasty (1271–1368) – the beginning of the Ming. Kunqu has soft and clear vocals, her melodies are beautiful and refined, reminiscent of dance music. This genre has had a huge impact on other types of opera. Approximately by 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 conquered the metropolitan audience 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 operatic forms as kunqu, gaoqiang, huqin, tanxi idengxi. Her most characteristic feature is singing in a high voice. The repertoire is very rich, including more than 2 thousand pieces. The texts are of 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 more than three hundred years of history and has strongly influenced the formation of Peking, Sichuan and Henan operas. Very rich in vocal terms, 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 the Anhui, Hubei operas and folk melodies of the Guangdong province. With its rich orchestral composition, melodic diversity, and great ability to renew itself, it quickly became the main theater form in Guangdong and Guangxi, as well as among the Chinese of Southeast Asia and America.

Chaoju(Chaozhou opera) dates from the middle of the Ming era and retains elements of the Sung (960-1279) and Yuan nanxi - "southern dramas" that arose in the provinces of Jiangsu and Zhejiang. The vocal style is rich and colorful. The chaoju genre makes extensive use of acrobatics, clowning, all kinds of dance moves, gestures, and plasticity. It attracts many spectators in the Chaozhou-Shantou District of Guangdong Province, the southern parts of Fuijian Province and in 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 the Tibetan communities of Tibet, Sichuan, Qinghai and South Gansu. Her libretto is based mainly on folk ballads, the melodies are fixed. They sing in the Tibetan opera loudly, with high voices, the choir sings along with the soloists. Some characters wear masks. Usually Tibetan opera is performed outdoors. Her traditional repertoire includes long pieces based on folk and Buddhist stories (for example, "Princess Wencheng", "Princess Norsan"), or short comic scenes with singing and dancing.

100 years ago in the Dongwang village of Zhejiang province, actresses performed for the first time on the opera stage. shaoxing opera. Gradually, it turned from one of the folk pop genres into a well-known type of local opera art in China. Shaoxing opera draws on Zhejiang's Shengzhou dialect and local folk melodies, while incorporating the best features of Peking opera, local kunqu opera, theater and cinematography. The images presented during the performance on stage are tender and touching, the performance is lyrical and beautiful. She has a gentle and lyrical style.

In the late 1950s and early 1960s, there were 367 kinds of local operas in China. Today there are 267 of them, and only one group performs with some types of opera. 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 of great importance not only in terms of protecting cultural heritage, but also in terms of the continuation and development of opera art.

After the formation of new China, two large-scale campaigns were carried out in the country to save, preserve and systematize opera art. In the late 1950s and early 1960s, thousands of traditional operas were immortalized. Thanks to this work, the general condition of the operatic heritage in China became known. The second campaign took place in the 80s-90s of the XX century, at the same time the Notes on Chinese Opera and the Collection of Chinese Opera Melodies were published.

Conclusion

2007 is the centenary year of Chinese drama theater.

Dramaturgy (huaju) appeared in China 100 years ago under the influence of foreign culture. Prior to this, drama in the Western sense was not familiar to the Chinese. Only Chinese traditional dramas were popular in the country, which belonged more to the musical than to the colloquial arts.

In 1907, several Chinese students studying in Japan created the Chunlyushe stage group, which staged fragments of Dumas son's Lady of the Camellias on the stages of Tokyo. In the same year, another stage group - "Chunyanshe" - was created in Shanghai. On Chinese stages, this group played the play "Uncle Tom's Cabin" based on the book by the American writer G. Beecher Stowe. This is how theater in the European sense of the word appeared in China.

In the 1920s, Chinese theater from abroad was influenced by realism and expressionism. In the 1930s, Cao Yu created a trilogy - "Thunderstorm", "Sunrise" and "Field", which is still on the Chinese stage today.

After Mao Zedong and the Communist Party came to power, propaganda theaters began to appear everywhere, and appropriate 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 "Ditch Longxuigou").

In the middle and late 80s of the twentieth century, dramaturgy was further developed, reforms were being carried out and searches were being made 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 tell about the real life of ordinary Chinese and touch upon 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. The representative of the avant-garde, for example, is director Meng Jinghui.

Bibliography

1. Borodycheva E.S. Chinese theater site "Secular club"

Traditional Chinese theater

The stage in the Peking Opera does not take up much space, the scenery is the simplest. The characters are clearly defined. The female roles are called tribute, the male roles are called sheng, the comedian roles are called chow, and the hero with different masks is called jing. Among male roles, there are several roles: a young hero, an elderly man and a commander. Women are divided into "qingyi" (the role of a young woman 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 heroines). The hero "jing" can wear the masks "tongchui", "jiazi" and "wu". Comedy roles are divided into scientists and military. These four characters are the same for all schools of Peking Opera.

Another feature of the Chinese opera theater is makeup. For each role there is a special make-up. Traditionally, makeup is created according to certain principles. It emphasizes the features of a certain character - it can be easily determined from it whether an actor plays a positive or negative character, whether he is decent or a deceiver. In general, there are several types of makeup:

1. The red face symbolizes courage, honesty and loyalty. A typical character with a red face is Guan Yu, a commander of the Three Kingdoms era (220-280), famous for his devotion to Emperor Liu Bei.

4. Green faces indicate heroes who are stubborn, impulsive, and completely lacking self-control.

1. Masks of dancers-casters. These masks are used in sacrificial ceremonies among small ethnic groups to scare away evil spirits and pray to deities.

2. Holiday masks. Similar masks are worn during holidays and festivities. 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 the ceremony dedicated to the birth of a child.

4. Masks protecting the house. These masks, like those of the caster dancers, are used to ward off evil spirits. As a rule, they are hung on the walls of the house.

ENCYCLOPEDIA OF CHINA - Peking Opera, masks - Theater...
Peking Opera is the most famous Chinese opera in the world. She
was formed 200 years ago on the basis of the local opera Huidiao
provinces...
http://www.abirus.ru/content/564/623/625/645/655/859.html

These unique masks are the result of the work of Guizhou artisans. Masks are carved from wood and tree roots. Some masks are only a few centimeters high, while others reach up to two meters. The masks of the Miao people casters are a real gem of Chinese folk art.

Changing masks is a real trick in traditional Chinese theatre. Thus, a change in the mood of the hero is displayed. When panic turns to rage in the hero's heart, the actor must change his mask in a matter of seconds. This trick always delights the audience. The change of masks is most commonly used in Sichuan theatre. 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 deftly change masks with each turn, which is obtained only as a result of lengthy training. Sometimes several layers of masks are used, which are torn off one after another.

Conclusion

2007 is the centenary year of Chinese drama theater.

In 1952, the Beijing Folk Art Theater was created, staging realistic plays (for example, "Tea House" and "Ditch Longxuigou").

In the middle and late 80s of the twentieth century, dramaturgy was further developed, reforms were being carried out and searches were being made to update the content and artistic form.

Bibliography

1. Borodycheva E.S. Chinese theater site "Secular club"

Traditional Chinese theater

1. The red face symbolizes courage, honesty and loyalty. A typical character with a red face is Guan Yu, a commander of the Three Kingdoms era (220-280), famous for his devotion to Emperor Liu Bei.

4. Green faces indicate heroes who are stubborn, impulsive, and completely lacking self-control.

1. Masks of dancers-casters. These masks are used in sacrificial ceremonies among small ethnic groups to scare away evil spirits and pray to deities.

2. Holiday masks. Similar masks are worn during holidays and festivities. 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 the ceremony dedicated to the birth of a child.

4. Masks protecting the house. These masks, like those of the caster dancers, are used to ward off evil spirits. As a rule, they are hung on the walls of the house.

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 "Huidiao" of the province... http://www.abirus.ru/content/564/623/625/645/655/859.html

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 that the colors of the masks express.

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, just one glance is enough to easily determine the character and even the role that the hero will play in the opera. Photo: Alcuin/Flickr

Black

Oddly enough, but the black color in Peking opera means the color of the skin, this is due to the fact that the skin of a high-ranking official Bao was black (Bao Zheng - an outstanding scholar and statesman of the Song Dynasty, 999-1062 AD). Therefore, the mask was also black. It has received wide recognition among the people, and the black color has become a symbol of justice and impartiality. Initially, a black mask, combined with a flesh-colored skin, denoted gallantry and sincerity. Over time, the black mask began to mean courage and honesty, directness and determination.

Red

The characteristics of red are such qualities as loyalty, courage and honesty. A mask with the presence of red is usually used to play positive roles. Since red means courage, therefore, red masks displayed loyal and valiant soldiers, and also represented a variety of celestial beings.

White

In Chinese opera, white can be combined with both pale pink and beige. This mask is often used to represent a villain. In the history of the Three Kingdoms, the warlord 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 refer to elderly heroes with white hair and blush, such as generals, monks, eunuchs, etc.

Green

In Chinese opera, green masks are generally used to represent brave, reckless, and strong characters. Robbers who made themselves rulers were also depicted with green masks.

Blue

In Chinese opera, blue and green are identical and, when combined with black, represent rage and stubbornness. However, blue can also mean wickedness 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 is sometimes used to make the face appear ugly.

Yellow

In Chinese opera, yellow can be regarded as an expression of courage, resilience, and ruthlessness. Yellow masks are also used for roles where a violent and short-tempered character is fully manifested. 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 gold masks are used to show the valor of the generals and their high rank.

Peking Opera

The history of the opening of theater stages in China has more than eight centuries. It has gone 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 structures: an open-air theater and chamber halls. The first were called "public", the second - "private". In China, such theaters were "Go-Dan" and "Chang-Hui". At that time, comparatively large free areas without a roof, the so-called "dance floors", around which three-story covered corridors were located, constituted the periphery part of the theatre. The entrance ticket cost the same for all classes, the one 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 about 4-6 feet above the ground. Its design was very simple: a large, flat area protruded forward, behind, there were doors on both sides. Above the stage was the second floor with windows, it 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 began to experience the influence of the European theater school. This is how Professor Zhou Huavu's "Capital Classical Theater" was created. He once said: "Just when the Chinese actors selflessly And diligently sang, danced and recited in the open air, and a special, unlike other Eastern system of playing was formed." In 1935, the famous Chinese actor, a master of impersonation, famous for her 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 ideas about Art. Since then, the Chinese theater game system has been recognized all over the world. Bright representatives of the three "big" theatrical systems (Russian, Western European and Chinese), having gathered together and exchanged experience, had a profound impact on the further development of theatrical art. The name of Mei Lanfan and the Chinese "Beijing Opera" shocked the world and became one of the universally recognized symbols of beauty. "Peking Opera" is a fusion of all genres of theatrical art (opera, ballet, pantomime, tragedy and comedy). Due to the richness of the repertoire, textbook plots, the skill of actors and stage effects, she found the key to the hearts of the audience and aroused their interest and admiration. But the Peking Opera Theater is not only a place for comfortable accommodation of spectators, but also a tea room, that is, during the performance you can still enjoy fragrant green tea with candied fruits. An indescribable game of actors, their complete reincarnation will make you completely transported into the fabulous, magical world of the Peking Opera. The plays perfectly combine the work of writers-playwrights of the Yuan and Ming dynasties (1279-1644) and elements of circus art. The performance is conditioned by the traditions of the Chinese theater unlike any other. The main features of the 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, impersonation and gesticulation; the second four are "hand play", "eye play", "body play" and "steps". Singing occupies a very important place in the Peking Opera. The sound itself is of great importance here. The uniqueness of the performance, the bewitching sound is determined by a deep knowledge of phonology, singing technique and the achievement of harmony between Yin and Yang. The song not only captivates with its content, but also evokes deep feelings in the listener. the character and language of the character, then the master and outwardly should become like him, hear and feel like him, become his own person. Breathing plays a very important role in the performance of the party, while singing they use "change of breath", "secret breathing", "breathing" and other techniques. After its formation, Peking Opera has become 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 observe the canons of Chinese traditional performing arts, it is through them that the individual vision and talent of the artist is manifested. Recitation in Peking Opera it is monologue and dialogue. Theatrical proverbs say: "sing for the vassal, recite for the master" or "sing well, speak excellently." These proverbs emphasize the importance of saying monologues and dialogues. Theatrical culture throughout history has developed based on the totality of the requirements of high performing arts and has acquired bright, purely Chinese characteristics. This is an unusual style and three types of recitation for various 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 gestures. These four elements are fundamental in the art of the master. They run like a red thread from the beginning to the end of the performance. Acting also takes many 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, tightened movements in combination with rhythmic music, and the mastery of the "prose style" - the performance of free movements to the "loose" music. In "rhyming style" the most important element is the dance. Dance skills 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 dance corresponding to it, draws this landscape and the state of the character in front of us (there are no scenery in “P.O.”). The second kind is purely dance. Artists use only dance moves to convey the mood and create a complete picture of what is happening. Throughout the history of theater development in China, folk dances have been staged. During the Ming Dynasty (1368-1644), small performances-novellas were often created and played on the basis of folk dance motifs. Gesticulation- these are the 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 the "military hero", "military heroine" and "warrior woman". All the scenes of a brutal war in the performances are made up of acrobatic stunts, there are even special "military plays". Playing the "old man" you can not do without acrobatic tricks because - sometimes the "old man" also needs to "wave his fists." The art of gesticulation is the "Gong Fu" that every character and, accordingly, an actor must possess. In each part of the performance, the artist uses special ways of playing: "playing with hands", "playing with eyes", "playing with the body" and "steps". These are the "four skills" that have already been mentioned above. Hand play. Actors say: "You can identify the master by one movement of the hand," therefore "playing with the hands" is a very important element of the 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 have such names: "Lotus fingers", "old woman's palm", "lotus fist", etc. Men's - "outstretched palm", "fingers-swords", "clenched fist". Also, the positions of the hands have very interesting names: "Foot of a lonely mountain", "two supporting palms", "supporting and meeting palms". The names of gestures also convey the nature of the game: "Cloudy hands", "flickering hands", "trembling hands", "raising hands", "folding hands", "pushing hands", etc. Eye play. People often refer to the eyes as 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 the actor's eyes do not express anything during the game, then the vitality is lost. In order for the eyes to be alive, the masters of the theater pay great attention to their inner state. This helps them feel the difference between such concepts as "look", "look", "aim", "look closely", "consider", 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." Body play is various positions of the neck, shoulders, chest, back, lower back and buttocks. A slight change in the position of the body can convey the internal state of the character. Although this is a complex, but very important theatrical language. In order to properly master it, to move naturally and accurately, the artist must comply with certain laws of body position. Such as: the neck is straight, the shoulders are even; loins straight chest forward; belly tucked up buttocks clamped. When the lower back serves as the center of the whole body during movement, then we can say that the whole body works in concert. The proverb says about this: "One movement or a hundred - the beginning is in the lower back." Steps. By "steps" we mean theatrical poses and movements on the stage. There are several basic postures and steps in Peking Opera. Postures: straight; the letter "T"; "ma-bu" (legs apart, weight distributed evenly on both legs); "gun-bu" (body weight shifted to one leg); rider posture; relaxed stance; "empty legs" Ways of steps: "cloudy", "crushed", "circular", "dwarf", "fast", "crawling", "spreading" and "minching" (those who are familiar with wushu will find many in common with the terminology adopted in Chinese martial arts). Actors believe that the steps and poses on the stage are the foundation of the performance, they play the role of basic movements that carry the possibility of endless changes, which, in turn, are used by the master to convey their feelings to the viewer. On these eight whales - "four ways of playing" and "four types of skill" stands "Peking Opera". Although this, of course, is not all. After all, the foundation of the pyramid of art of the "Peking Opera" is laid deep in the culture of China. But the scope of the article does not allow to fully experience the beauty and depth of this theatrical performance. To do this, you need to "see once"