Japanese theatrical masks. Traditional Chinese theater Local opera genres
A characteristic feature of the art of the Chinese theater actor is playing with imaginary objects and allegorical use of theatrical props. For example, a table, depending on the situation, can represent an altar, a table, a mountain, an observation platform; a hat wrapped in a red cloth - a severed head; black flags – wind; red flags - fire. The stage space is divided into two parts. One - in the circle of the proscenium - indicates the location of the action outdoors. For example, a 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 onto the table - finds himself on a hill. A wave of the whip - and the audience understands that he is racing on a horse. Two actors try to find each other and miss on the illuminated stage - everyone guesses that it is happening in the dark.
The symbolism of Chinese theater is fundamentally different from European theater. The acting is also very far from any real-life plausibility. It is built on canonized, refined conventional techniques of expressiveness, stylized movements and gestures. All 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 based on acrobatics and fencing).
In traditional theater, the role system is still preserved. All characters are divided into four groups:
[wen] - civilians and [wu] - military;
By age, the characters are divided into [laosheng] - old people and [xiaosheng] - young people.
Dan (female roles) are divided into [qinyi] - a positive married woman, [zhendan] - a positive heroine, most often young, [huadan] - a servant, courtesan, [daomadan] - a woman 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 makeup and masks, and their manner of acting 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), and 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 women's troupes, in which all roles were performed by women, and men's. It is interesting that the Chinese believed that only a man is able to understand and express the feminine essence, the beauty of her soul and body.
The unique originality of traditional Chinese theater is due to the fact that it lacked the differentiation into genres common among Europeans. An actor in such a theater had to be equally proficient in the art of stage speech and singing, gesture, pantomime, dance, and elements of martial art. The absence of a box stage in such a theater gave rise to special methods of stage expression. Acting on an open stage, the actor achieved close contact with the audience. The need to extremely concentrate the attention of the audience (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 of 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 and mastered the performance technique perfectly could very rarely switch to another role. Each group of roles has techniques of stage expression developed to the smallest detail, secured by centuries-old tradition. Improvement and development of tradition was possible only within strictly defined boundaries. That is why it was so important to master rhythmically organized speech in traditional theater, precise stage movement, when an actor conducts a dialogue using “gesture language.”
In the Chinese theater, the movements of the actor’s hands are developed in detail - “denying” hands, “hiding” hands, “grabbing” hands, “crying” hands, “resting” hands, etc. A rude character was expressed by widely spread fingers, while the elders are characterized by restraint and constraint of their movements. Folded female fingers symbolize femininity and grace.
The plasticity of an actor in a traditional theater is almost statuesque, honed in poses. The hero's movement is determined not so much by the circumstances of the play as it shows his character and even social position. In the Chinese theater, for example, a positive civilian hero, when walking, throws 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 feet from the stage when walking, the “seductive beauty” steps over with her knees tightly clenched; The “comedian” has a hasty and creeping gait.
It is also necessary to point out the special symbolism of traditional Chinese theater. The symbolism of color is widely used in make-up and costumes: emperors wear yellow suits, loyal, dedicated and brave ministers and military leaders appear in red ones, evil and cruel people wear black ones, officials with a bad character wear blue ones. Great importance is also attached to a fluffy headdress. The symbolism of the makeup also spoke a lot to the audience: straightforward and persistent people have a red face; people of violent character - black, white color in makeup denotes baseness, 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 king of the monkeys has an image of a coconut on his forehead. If the actor has a coin on his temple, it means the viewer is dealing with a money lover.
In Chinese traditional theater, much attention was paid to the psychological development of the role. But the psychologism of the Eastern theater is also significantly different from that of the European theater. An actor in Chinese theater must master ways of externally expressing feelings. Chinese traditional theater theory proposes eight psychological states, or categories (pa-xing), each of which corresponds to a specific manner of behavior. In the treatise “The Mirror of the Enlightened Spirit” they are described as follows:
· Noble – impressive appearance, direct gaze, low voice, important gait;
· Poor – looks dejected, has a fixed gaze, stoops, wet under the nose;
· Low – good-natured appearance, looks sideways, shoulders raised, gait is fast;
· Stupid - looks dull, eyes wide, mouth agape, shakes head;
· Crazy – angry look, fixed gaze, screams and laughs, moves randomly;
· The patient looks exhausted, his eyes are watery, he is breathing heavily, his body is shaking;
· Drunk – looking tired, eyes dull, body limp, legs stiff.
There were four main emotions (si-zhuang) - joy, anger, sadness, fear.
Male actors required special skill to play 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 acting was of a guild nature and began in early childhood – from 7–8 years old. Performing traditions were passed down from generation to generation, the old experienced actor passing on his experience to his students, who were usually his children and grandchildren. All instructions were followed unquestioningly by the students, and they spent most of their time studying. In addition to full mastery of their bodies, they learned, 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 - it’s just that changes in it occur slowly, and in order to be accepted into the tradition, they go a long way, justifying the need for changes.
BEIJING OPERA
The most widespread and most influential theatrical genre in China is 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, and the intense development of the plot. Long-lasting performances lasting 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.
In Peking Opera there are four categories of characters: sheng - 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, women's roles were performed by men, and these parts were sung in falsetto. The parts of young men - characters who came from the Kunqu drama - are also performed in falsetto.
The costumes of the characters in Peking opera are borrowed from the wardrobe of the Chinese nobility during the Tang and Song, Ming and Qing dynasties. The costumes mainly used are from the period of the Ming Dynasty (1368–1644), which, however, are not mechanically transferred to the stage, but are made more colorful, their details are somewhat exaggerated. In most cases, the costumes are embroidered with brightly patterned designs.
The music of Peking Opera is predominantly orchestral, in which percussion instruments create a deeply rhythmic accompaniment. The main percussion instruments are gongs and drums of various sizes and types. Ratchets made from hardwood or bamboo are also used. The main stringed instrument is the jinghu (Beijing violin). The erhu (second violin) plays along with her. The plucked instruments are the yueqin (moon-shaped mandolin), pipa (four-string lute), and xianzi (three-string lute). The sona trumpet and Chinese flute are also sometimes used. The orchestra is led by a drummer who uses bamboo sticks to make a variety of sounds - loud, excited, quiet, soft, sentimental - and expresses the feelings of the characters in exact accordance with the acting.
The vocal part of Peking Opera consists of speech and singing. Speech in turn is divided into yun bai (recitative) and jing bai (Beijing colloquial speech); recitative is used by serious characters, colloquial speech by young heroines and comedians. The singing has two main motives: erhuang (borrowed from the folk melodies of Anhui and Hubei provinces) and sipi (from the melodies of Shaanxi province). 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 scenes, of which two hundred are still performed on stage today. For example, in the opera “The Empty Fortress Trick,” the wise strategist Zhuge Liang is depicted, deftly defeating his opponent Sima Yi; “Gathering of Heroes” shows how the kingdoms of Wu and Shu defeat the army of the kingdom of Wei at the Red Cliff on the Yangtze River; the hero of the opera "The Fisherman's Revenge" Xiao En kills a corrupt official; in the “Triple Fork”, a young officer and the owner of an inn in the dark, not recognizing each other, began to fight, trying to protect the patriot general Chiao Tsang-nya; 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 army.
During the development of Peking Opera, many talented actors developed refined techniques of singing and gestures, perfecting the traditional skills they learned from their mentors and displaying their own abilities. An outstanding performer of female roles in the Beijing musical drama theater was Mei Lanfang (1894–1961). He created new complexes of acting movements and facial expressions, in particular expressive glances and hand movements. Based on the traditional laws of vocals, he created his own performing school, which has many followers. Mei Lanfang toured in many countries around the world, including the USSR. His art was highly appreciated by K.S. Stanislavsky. Beijing 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 favorite 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. Originated from the folk opera of Hebei province, known as Lianhualao, then adopted the singing and gesture techniques from the Hebei opera Banzi ("Ratchet"), from the Peking Opera, and 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, and 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 modern themes.
Yuju(Henan opera), or Henan banzi, arose in the Qing era from local folk performances that absorbed elements of Shanxi opera and Puzhou banzi. This gave it a lively, simple, conversational character. Towards the end of the Qing dynasty, Henan opera spread to cities and, under the influence of Peking opera, became a developed genre popular in the provinces of Henan, Shaanxi, Shanxi, Hebei, Shandong and Anhui.
Yueju(Shaoxing opera) first took its own form in the late Qing era, based on the folk songs of Shengxian County, Zhejiang Province. Included vocal and stage elements from local operas. Later, influenced by new drama and ancient opera, kunqu became popular in Shanghai, Jiangsu and Zhejiang provinces. The soft, melodic music of Shaoxing opera is most suitable for conveying tender feelings; the acting style is also graceful and sophisticated.
Qinqiang(Shaanxi opera) appeared in the Ming era (1368–1644). The singing here is loud and clear, the rattles beat out a clear rhythm, the movements are simple and energetic. The Qinqiang genre was widely popular in the late Ming and early Qing eras and influenced a number of other types of local opera. Now Shaanxi opera attracts many spectators in the provinces of Shaanxi, Gansu and Qinghai; its traditional repertoire includes over 2 thousand works.
Kunqu(Kunshan opera) originated in Kunshan County, Jiangsu Province, at the end of the Yuan Dynasty (1271–1368) - the beginning of the Ming. Kunqu has soft and clear vocals, her melodies are beautiful and sophisticated, reminiscent of dance music. This genre has had a huge influence on other types of opera. Around the middle of the Ming, it spread to the north of the country and gradually developed into a more energetic, severe type of opera called "northern". By the end of the 17th century, kunqu opera had conquered the capital's public and the emperor's court and gradually lost the mass audience, turning into an aristocratic art form.
Chuanju(Sichuan opera) is popular in Sichuan, Guizhou and Yunnan provinces. It is the main form of local theater in southwestern China. It developed around the middle of the Qing era based on a combination of such local opera forms as kunqu, gaoqiang, huqin, tanxi idengshi. Her most characteristic feature is singing in a high voice. The repertoire is very rich, including more than 2 thousand works. The texts are distinguished by high artistic value and humor. The movements are detailed and very expressive.
Hanju(Hubei Opera) is an old theatrical form that originated in Hubei Province. It has a history of more than three hundred years and greatly influenced the formation of Peking, Sichuan and Henan operas. Very rich vocally, has over 400 melodies. The repertoire is also very wide. The Hanju genre is popular in the provinces of Hubei, Henan, Shaanxi and Hunan.
Yueju(Guangzhou opera) appeared in the Qing era under the influence of kunqu and yangqiang (another ancient type of opera). Later it absorbed elements of Anhui and Hubei operas and folk melodies of Guangdong Province. Thanks to its rich orchestral composition, melodic variety and great ability to innovate, it quickly became the main theatrical form in the provinces of Guangdong and Guangxi, as well as among the Chinese of Southeast Asia and America.
Chaoju(Chaozhou opera) dates back to the mid-Ming era and retains elements of the Song (960–1279) and Yuan Nanxi “southern dramas” that originated in the provinces of Jiangsu and Zhejiang. The vocal style is rich and colorful. The Chaoju genre makes extensive use of acrobatics, clownery, all kinds of dance movements, gestures, and plastic arts. Attracts many viewers in the Chaozhou-Shantou region of Guangdong Province, the southern parts of Fuijian Province and the Chinese communities of Southeast Asia.
Tibetan opera based on Tibetan folk songs and dances, originated at the end of the 14th century and developed into an operatic genre in the 17th century. Popular in Tibetan communities in Tibet, Sichuan, Qinghai and Southern Gansu. Its libretto is based mainly on folk ballads, the melodies are fixed. In Tibetan opera they sing loudly, in high voices, and the choir sings along with the soloists. Some characters wear masks. Tibetan opera is usually performed outdoors. Her traditional repertoire includes long works based on folk and Buddhist stories (for example, “Princess Wencheng”, “Princess Norsan”), or short comic skits with singing and dancing.
100 years ago, in the village of Dongwang, Zhejiang Province, actresses performed for the first time on the opera stage. Shaoxing opera. Gradually, it has evolved from one of the folk pop genres into a well-known form of local opera art in China. Shaoxing Opera draws on the Shengzhou dialect of Zhejiang Province and local folk melodies, while incorporating the best features of Peking Opera, local Kunqu Opera, theater craftsmanship and cinematography. The images presented during the performance on stage are tender and touching, the performance is lyrical and beautiful. She is distinguished by a gentle and lyrical style.
In the late 50s and early 60s of the 20th century, there were 367 types of local operas in China. Today there are 267 of them, and with some types of opera only one group performs. In other words, 100 types of local opera have already ceased to exist, and many are on the verge of extinction. In this regard, the task of preserving cultural heritage by perpetuating it on audio and video media is becoming increasingly urgent. This work, by the way, is important not only in terms of protecting cultural heritage, but also in terms of the continuation and development of the art of opera.
After the formation of new China, two large-scale campaigns were carried out in the country to rescue, preserve and systematize the art of opera. In the late 1950s and early 1960s, thousands of traditional operas were immortalized. Thanks to this work, the general state of the opera heritage in China became known. The second campaign took place in the 80s – 90s of the twentieth century, at which time “Notes on Chinese Opera” and “Collected Opera Melodies of China” were published.
Conclusion
2007 is the centenary year of the Chinese Drama Theatre.
Dramaturgy (huaju) appeared in China 100 years ago under the influence of foreign culture. Before this, drama in the Western sense was not familiar to the Chinese. Only Chinese traditional dramas, which are more of a musical than a spoken art form, were popular in the country.
In 1907, several Chinese students studying in Japan created the stage group "Chunliushe", which staged fragments of Dumas the Son's "Lady of the Camellias" on stages in Tokyo. In the same year, another stage group, Chunyangshe, was created in Shanghai. On Chinese stages, this group performed the play “Uncle Tom's Cabin” based on the book by the American writer H. Beecher Stowe. This is how theater in the European sense of the word appeared in China.
In the 20s of the 20th century, Chinese theater from abroad was influenced by realism and expressionism. In the 30s, Cao Yu created a trilogy - “Thunderstorm”, “Sunrise” and “Field”, which is still performed on the Chinese stage today.
After Mao Zedong and the Communist Party came to power, propaganda theaters began to appear everywhere and corresponding performances were staged. Therefore, traditional roles began to be replaced by new ones.
In 1952, the Beijing Folk Art Theater was created, staging realistic plays (for example, “Tea House” and “Longxugou Ditch”).
In the mid and late 80s of the twentieth century, drama received further development, reforms and searches were carried out to update the content and artistic form.
Today, dramaturgy is developing rapidly, as is traditional Chinese opera. In 2006, more than 40 plays premiered on Beijing stages. Most of them talk about the real life of ordinary Chinese and touch on the most important problems of Chinese society. Some directors have taken the path of combining traditional elements with modern ones. They immediately began to be called avant-garde directors. A representative of the avant-garde, for example, is director Meng Jinghui.
References
1. Borodycheva E.S. Chinese theater website "Secular Club"
Traditional Chinese theater
Peking Opera is the most famous Chinese opera in the world. It was formed 200 years ago based on the local opera "Huidiao" of Anhui Province. In 1790, by imperial decree, the 4 largest Huidiao opera troupes - Sanqing, Sixi, Chuntai and Hechun - were convened in Beijing to celebrate the 80th anniversary of Emperor Qianlong. The words of the Huidiao opera parts were so easy to understand by ear that the opera soon began to enjoy enormous popularity among the capital's audience. Over the next 50 years, Huidiao absorbed the best from other opera schools in the country: Beijing Jingqiang, Kunqiang from Jiangsu Province, Qinqiang from Shaanxi Province and many others, and eventually developed into what we have today We call it Peking Opera.
The stage in Peking Opera does not take up much space, and the scenery is very simple. The characters' characters are clearly distributed. Women's roles are called "dan", men's roles are called "sheng", comedy roles are called "chow", and the hero with various masks is called "jing". Among male roles, there are several roles: a young hero, an elderly man and a commander. Women's are divided into "qingyi" (the role of a young or middle-aged woman), "huadan" (the role of a young woman), "laodan" (the role of an elderly woman), "daomadan" (the role of a female warrior) and "wudan" (the role of a military woman). heroine). The Jing hero can wear the Tongchui, Jiazi and Wu masks. Comedy roles are divided into scientists and military men. These four characters are common to all schools of Peking Opera.
Another feature of the Chinese opera theater is makeup. Each role has its own special makeup. Traditionally, makeup is created according to certain principles. It emphasizes the characteristics of a certain character - from it you can easily determine whether the actor is playing a positive or negative character, whether he is decent or a deceiver. In general, several types of makeup can be distinguished:
1. The red face symbolizes courage, honesty and loyalty. The typical red-faced character is Guan Yu, a general from the Three Kingdoms era (220-280) famous for his loyalty to Emperor Liu Bei.
2. Reddish-purple faces can also be seen on well-behaved and noble characters. Take, for example, Lian Po in the famous play “The General Makes Peace with the Chief Minister,” in which a proud and hot-tempered general quarreled, and then made peace with the minister.
3. Black faces indicate a bold, courageous and selfless character. Typical examples are General Zhang Fei in The Three Kingdoms, Li Kui in The Ponds, and Wao Gong, the fearless legendary and fair judge of the Song Dynasty.
4. Green faces indicate heroes who are stubborn, impulsive and completely lacking self-control.
5. As a rule, white faces are characteristic of powerful villains. White color also indicates all the negative aspects of human nature: deceit, deceit and betrayal. Typical white-faced characters include Cao Cao, the power-hungry and cruel minister of the Three Kingdoms, and Qing Hui, the cunning Song Dynasty minister who killed the national hero Yue Fei.
All of the above roles belong to the category under the general name “jing” (the ampoule of a man with pronounced personal qualities). For comedy characters in classical theater there is a special type of makeup - “xiaohualian”. A small white spot on and around the nose indicates a close-minded and secretive character, such as Jiang Gan from Three Kingdoms, who fawned over Cao Cao. Also, similar makeup can be found on a witty and playful servant boy or commoner, whose presence enlivens the whole performance. Another role is the acrobat jester “uchou”. A small spot on their nose also indicates the hero's cunning and wit. Similar characters can be seen in the novel “River Backwaters”.
The history of masks and makeup begins with the Song Dynasty (960-1279). The simplest examples of makeup have been discovered on frescoes in tombs of this era. During the Ming Dynasty (1368-1644), the art of makeup developed fruitfully: colors improved, new, more complex patterns appeared, which we can see in modern Peking opera. There are several different theories about the origin of makeup:
1. It is believed that primitive hunters painted their faces to scare away wild animals. Also in the past, robbers did this in order to intimidate the victim and remain unrecognized. Perhaps later makeup began to be used in the theater.
2. According to the second theory, the origin of makeup is associated with masks. During the reign of the Northern Qi Dynasty (479-507), there was a magnificent general, Wang Lanling, but his handsome face did not instill fear in the hearts of the soldiers of his army. Therefore, he began to wear a terrifying mask during the battle. Having proven his formidability, he became more successful in battles. Later, songs were composed about his victories, and then a masked dance performance appeared, demonstrating the storming of the enemy fortress. Apparently, in the theater masks were replaced by makeup.
3. According to the third theory, makeup was used in traditional operas only because the performance was held in open areas for a large number of people who could not easily see the actor’s facial expression from a distance.
Chinese masks are an integral part of world art. The first masks appeared in China during the Shang and Zhou dynasties, that is, about 3,500 years ago. They were the most important element of Chinese shamanism. Serving the deity who saved from the plague included dancing and singing by the spellcasters, which were unthinkable without masks. Even today, national minorities wear masks during religious rituals, weddings and funerals.
Chinese masks are mainly made of wood and worn on the face or head. Although there are many masks of demons, evil spirits and mythical animals, each one conveys a special meaning. Chinese masks can be divided into the following categories:
1. Masks of dancers-spellcasters. These masks are used during sacrifice ceremonies among small ethnic groups to ward off evil spirits and pray to deities.
2. Festive masks. Similar masks are worn during holidays and celebrations. They are intended for prayers for longevity and a rich harvest. In many places, festive masks are worn during weddings.
3. Masks for newborns. They are used during a ceremony dedicated to the birth of a child.
4. Masks that protect your home. These masks, like the masks of spell dancers, are used to scare away evil spirits. As a rule, they are hung on the walls of the house.
5. Masks for theatrical performances. In theaters of small nationalities, masks are the most important element with the help of which the image of the hero is created, therefore they have great artistic significance.
ENCYCLOPEDIA OF CHINA - Peking Opera, masks - Theater...
Peking Opera is the most famous Chinese opera in the world. She
formed 200 years ago based on the local opera “Huidiao”
provinces...
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These unique masks are the result of the work of artisans in Guizhou Province. The masks are carved from wood and tree roots. Some masks are only a few centimeters high, while others reach two meters. The masks of the Miao people are a real pearl of Chinese folk art.
Initially, witchcraft masks appeared in central China. Once in Guizhou, the masks began to be popular with local shamans, who turned to the legendary Fu Xi and Nyu Wa in their fortune telling. The Chinese ruler Fu Xi taught people to fish, hunt, and raise cattle. And the goddess Nu Wa created people and repaired the firmament.
In ancient times, people believed that all troubles and misfortunes were the machinations of evil spirits and demons. Therefore, during fortune telling, they wore masks to appear larger and scare away evil forces. Ritual dances were also performed to ward off demons. Over time, the function of dancing became more entertaining than religious. And religious chants went beyond the boundaries of Taoist and Buddhist temples, becoming part of folk culture.
Long and predominantly white sleeves are often seen in traditional Chinese theater performances. As a rule, they reach a length of half a meter, but there are also examples of more than 1 m. From the auditorium, the white silk sleeves look like flowing streams. Of course, even in ancient times people did not wear clothes with such long sleeves.
On stage, long sleeves are a way to create an aesthetic effect. Waving such sleeves can distract the viewer's attention between games, convey the hero's feelings and add color to his portrait. If a hero throws his sleeves forward, it means he is angry. Shaking your sleeves symbolizes trembling with fear. If an actor throws his sleeves up to the sky, it means that an accident has just happened to his character. If one character waves his sleeves, as if trying to shake dirt off the suit of another, he is thus showing his respect. Changes in the hero's inner world are reflected in changes in gestures. Long sleeve movements are among the basic skills of an actor in traditional Chinese theater.
Changing masks is a real trick in traditional Chinese theater. Thus, the change in the hero’s mood is displayed. When panic gives way to rage in the hero's heart, the actor must change his mask in a matter of seconds. This trick always delights the audience. Changing masks is most often used in Sichuan theater. In the opera “Severing the Bridge,” for example, the main character Xiao Qing notices the traitor Xu Xian, rage flares up in her heart, but suddenly it is replaced by a feeling of hatred. At this time, her beautiful snow-white face first turns red, then green, and then black. The actress must quickly change masks with every turn, which is only possible as a result of long training. Sometimes several layers of masks are used, which are torn off one after another.
theatrical masks, ~ ritual masks, ~ carnival masksMasque 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.
A mask can have both unifying (masking) and identifying meanings.
In many cultures, including non-literate ones, 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 internally transformed, temporarily acquiring the qualities of the creature represented by the mask. Thus, ancient masks depicting animals served as a means of coming into contact with the spirit of the animal that was being hunted, and protection from its attack.
Later totem masks allow tribe members to identify themselves with spirits and ancestors. A deity mask is a container or habitat of a deity or ancestor, endowed with mystical power, considered as an effective means of protection (to scare away enemies, expel demons, illness or spirits of death) and communication with ancestors and/or gods. By wearing masks during ceremonies or ritual dances, their wearers manifested the presence of the depicted creature. In primitive cultures, such identification was complete (the animal mask had the same property as the skin in which the magician dressed himself): the one who wears the mask is the one whose mask he puts on.
Masks were often “absolutized” and regarded as independent objects of cult. The connection of masks with the world of powerful beings gives it an apotropaic meaning. The practice of using masks as a means of driving away evil spirits is widespread.
Endowed with magical properties, the warlike mask provides invulnerability and imparts 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 rites of passage, marking the transition from childhood to adulthood.
Funeral masks, which convey the appearance of the deceased, are widely used as a means of preserving the facial features of the deceased and ensuring the return of souls to their bodies - an idea that was especially preoccupied with the Egyptians and some other peoples. The destruction of the appearance 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” become “what-would-like-to-be”; in this sense, the mask is similar to a butterfly pupa.
The meaning put into the mask is expressed through its facial expressions, material or shape features (color, number of feathers, decorations, ornaments, etc.). Closely connected with the symbolism of cross-dressing (transvestism), carnival, etc.
Basic values:
- protection, concealment, secret, illusion, disguise, secrecy, shame;
- anonymity;
- duality, ambiguity;
- recognition;
- supernatural power;
- transformation;
- nothingness, the rigor of death.
Origins of traditional theater go deep into national traditions. The plots of the plays and their characters reveal the character of the people and are inextricably linked with the nature, literature and culture of the country. Peking opera has come a long way in its development and formation from ritual chants, song and dance performances of Yu artists and Changyu singers, jesters and actors of Payu, performances of Baixi, the poetic genre of Ci and Zhugongdiao, musical and dramatic plays of Zaju, theatrical styles of Beiqu and Nanqu, drama of Chuanqi , Yiyang and Kunshan theaters, Kunqu theater, Huabu folk theater genre, Pihuang and Qingyang genres, Anhui theater performances before the advent of Jingxi Musical Drama Theater or capital drama. However, it was the 18th century that was the time of the birth of Beijing musical drama (jingxi or jingju), which crowns the thousand-year history of the development of Chinese theatrical art.
Peking Opera, despite its name, did not originate in the capital, and was brought by actors from Anhui province at the end of the 18th century. The beginning of the formation of “metropolitan drama” is considered to be 1790, when the Anhui troupe “San Qing Ban” (“Three Celebrations”) came to Beijing for celebrations in honor of the 80th anniversary of Emperor Qianlong. The genre can finally be considered to have taken shape by the early 1860s.
Currently existing as the national theater of classical drama of China - the capital's Jingxi Music and Drama Theater (Beijing, or capital, opera) - arose based on the fusion of a number of local theatrical genres, combining high performing techniques and Wenyan literary language(mainly in arias) with dynamism, love for battle scenes and circus tricks, with colloquial baihua in dialogues characteristic of the genres huabu.
Chinese people conveyed to his art a piece of his soul, imagination and talent. Understanding Chinese theatrical art contributes to a correct and more complete understanding of the specific features of the history, ideology and psychology of the people who created this art. Peking Opera is a product of traditional culture. It captures with great completeness and richness of colors the country’s past, modern reality, beliefs and fantasies of the people. Merchants and doctors, judges and military leaders, singers and noble young ladies, rebels and robbers, lamas and Buddhist monks, innocently executed souls and celestial beings - such is the motley and noisy world of images of Peking Opera, captured in their essential features and manifestations, with their inherent views and attitude towards the environment. Peking opera performances are characterized by a sense of stability, integrity, and rationality of the world order depicted in them. In this theatrical world, good and evil, joy and suffering, the ordinary and the supernatural coexist, mutually complementing or temporarily pushing aside, but almost never destroying or denying each other. Kingdoms and dynasties, periods of war and peace change, but the world order remains unchanged.
Peking Opera with its complex set of ideological and aesthetic properties and concepts impossible unambiguously compare with any of the stages of development of a well-studied European culture. The creative genius of the people who created the art of Peking Opera found its manifestation in the improvement of artistic means inherited from the past. Here, to one degree or another, artistic experience, forms and technical techniques are used, characteristic of such dissimilar phenomena of literature and art as classical poetry, proso-poetic tales, theatrical farces, song and dance performances.
Chinese artistic culture is a culture of allusions and hints. In the Tang era, a special metalanguage arose, accessible only to the initiated - the language of the very core of Chinese culture. Understanding a painting, poetry, or even a dance replete with symbols, a person seemed to check his belonging to the tradition. For spectators ignorant of the intricacies of Peking opera, many of the highly specific attributes of the performance remain incomprehensible. Questions that arise when watching Peking opera concern knowledge of the history, customs, culture and social foundations of China.
Theatrical aesthetics of Peking Opera responds to the pomp and splendor of the stage costume, a special manner of stage speech based on the modulation of words and phrases, the piercing sounds of falsetto singing, the loud sound of the orchestra, the striking ornament and intensity of the color of the actor's makeup, the symbolism of props and stage gestures.
A Peking Opera actor needs to know the basics of national acting - these are the “four skills” (singing, reciting, impersonation and pantomime) and the “four techniques” (hand acting, eye acting, body acting and steps). Already by the beginning of the Qing dynasty, Chinese theatergoers distinguished almost three dozen different movements with their legs and about forty types of movements with their arms and sleeves.
As in earlier theater, in the capital's drama the division of characters into four main roles. They differ based on gender, age, and individual characteristics of the stage character.
Chow's role
The main types of characters: sheng (male characters), dan (female characters), hualian (the role of male characters with a painted face, who are also called jing (in Chinese mythology - werewolves) - villains, insidious traitors and other negative characters, who therefore received the second name “hualien” - “painted face” and chow (comic characters).
Role Tribute
Roles, in turn, are divided into sub-roles, such as: sheng with a fleur-de-lis hat or guansheng (officials in the imperial palace); sheng with a fan or shanzisheng (a character with a fan in his hand, an intellectual with a fan); sheng with pheasant feathers in a headdress or zhiweisheng (outstanding talent), etc.
Role Jin
Chinese stage costume its shape, design, ornament and color expresses the ancient cosmological symbolism of the natural alternation of Light and Darkness, the merging of Heaven and Earth in the act of creation of the world.
Role Shen
Beijing musical drama theater costume is not historically specific. It is difficult to determine from the theatrical attire in which historical period the character is acting. Despite the fact that the style of clothing changed in different dynasties, the costumes of Peking Opera actors underwent virtually no changes. The hero invariably appears in clothes of the Ming era, complemented by details characteristic of a later or earlier time. The main criterion when choosing a costume is the role and specific role of the actor. They also determine the color scheme of the suit. Thus, the emperor wears a yellow dress, and members of the imperial family wear light yellow tones; the upper classes dress in red suits; characters who are virtuous and devoted appear in blue clothes; young people wear white, and older people wear brown.
Beijing musical drama makeup is diverse and depends on the interpretation of the image: by its color and design one can determine the social position of the hero, his character, fate, etc. There are several thousand types of makeup compositions for Peking Opera characters, symbolizing one or another image.
The makeup of Peking Opera actors is “conventional” makeup. The principles of conventional makeup are based on exaggeration of individual features, characteristics, and qualities of a character. Makeup paints change the actor's face and allow you to achieve the desired effect.
Color scheme in a traditional theater strictly regulated, and each of the twelve colors symbolizes certain properties and character traits. The main makeup colors are red, purple, white, yellow, black, blue, green, pink, gray, brown, gold and silver. To shade and thicken the primary colors, other colors are often used, applied to the face in the form of stripes.
Beijing musical drama developed a whole system of makeup, the history of which goes back to the examples of the multicolor mask makeup of the Yuan and Ming theaters, significantly complicating its design, color and ornamental symbolism. The long-term development of the art of makeup has shaped the generally accepted conventions of makeup methods and its symbolic meaning. Knowledge of these symbols contributes to a better understanding of the plot of the play. Spectators who understand Peking Opera, seeing the composition of the makeup, will immediately recognize the character. And this tradition is carefully passed on from generation to generation. At the same time, the development of the art of makeup has not displaced theatrical masks from the stage, which coexist on stage along with makeup.
In Beijing musical drama, one of the most important makeup tools that can significantly change the overall appearance of a character is the beard, which is a method of artistic exaggeration. Based on color, beards are divided into four types: black, gray, white and red. The color of the beard depends on the age and character of the character.
Symbolism of stage appearance in Chinese theater it is often applied to things without taking into account their natural properties; it is not intended to express the essence, but to designate a certain cosmic structure. A Chinese theatrical aphorism conveys the aesthetic subtlety of theatrical acting: “In truth there is deception, in deception there is truth.”
The Chinese theater did not abandon the symbolism of folk ritual spectacles; it gave it an aesthetic quality and subordinated it to the requirement of stylistic unity. The aesthetic principles of the Chinese theatrical tradition are focused on combining the symbolic and the real in the artistic image, and the emphasis on the symbolic qualities of theatrical performance does not exclude interest in the historical truth of life and the details of everyday life.
Conventions and symbolism in staging Peking Opera performances have developed through many years of practice. They are passed on by personal example from generation to generation and the criteria in this regard are quite strict and, although at first glance the actor is required to absolutely comply with the canons of Chinese traditional performing art, it is through them that the individual vision and talent of the artist is revealed.
Centuries-old traditions
As the Chinese say, “the art of Peking Opera is the treasure of Chinese national culture, it expresses the Chinese national spirit. The art of Peking Opera should be passed on from generation to generation.” It was the desire to preserve traditions, the desire to instill understanding, love, respect for Chinese national art from childhood and to educate a new generation of Peking Opera artists that prompted the authorities of the city of Harbin to create a Peking Opera drama club "Jing Miao Peking Opera Troupe" (translated into Russian means "Sprouts of Peking Opera") in administrative kindergarten No. 1 in Harbin.
The teaching process is based on the psychological and physiological characteristics of preschoolers, an appropriate plan is drawn up and the content of the works is selected that is acceptable for younger children. The teaching principle in the drama club is as follows: show more examples, encourage more, teach and criticize less. 15 years have passed since the creation of the Peking Opera troupe for children. It is widely popular among children and their parents.
Today in China, in parks and squares you can often find groups of piaoyu (amateur actors) who gather and study Peking Opera, exchange experiences, thereby striving to improve their skills.
International houses of Peking Opera lovers have been established in major cities of the country, such as Beijing and Shanghai.
Today, the misunderstanding of the Peking opera genre by contemporaries is largely inevitable and at the same time understandable. In this regard, the Chinese government attaches great importance to the protection, inheritance and development of the country's traditional cultural heritage.
In December 2006, the Beijing government published the City Register of Intangible Cultural Heritage. It includes 48 objects of intangible cultural heritage, including the Beijing musical drama, previously included in the State Register of Intangible Cultural Heritage.
Currently Peking Opera is the largest form of theatrical art in China, which has no equal in the richness of its stage repertoire, the number of performers, the number of spectators, and its profound influence on society.
Peking opera is an important phenomenon of not only Chinese, but also universal human culture, which in many ways still retains its artistic and educational value.
On November 28, 2007, the Chinese Peking Opera Theater (founded in 1955) was officially renamed the Chinese National Peking Opera Theater; The Bolshoi Theater of the Beijing Opera named after him will officially operate under him. Mei Lanfang is one of the most famous Chinese actors in Peking Opera.
Since ancient times throughout the world, masks have played an important role in theatrical tradition. They acquired especially important meaning in Eastern cultures. Their use in the theater has survived to this day, although they have undergone changes in form and means of expression. As for example in Japanese theater = mask (nomen [能面] or omote [面])
The mask gives the actor’s appearance a mysterious attractiveness and charisma, turning his figure into a sculpture draped in beautiful clothes. Only the lead actor site and his accompanying tsure perform in a mask, if this character is a woman. Performing a role without a mask, the actor maintains a calm, detached facial expression on stage; Japanese psychiatrists even use the term "no mask facial expression" to describe a patient's pathological problems with facial expressions. As a rule, an actor owns several masks of the same type. Makeup is not used in the theater.
Like other things in medieval Japan, a mask (along with a mirror, an amulet, a sword) was endowed with magical properties; the actor continues to treat the mask as a sacred object: the actor’s dressing room always has its own altar with ancient masks, and the performer will never step over the omote. Modern actors play in replica masks and very rarely, on special occasions, in ancient ones.
Masks may not completely cover the actor's face. The size of women's masks is on average 21.1 cm in height, 13.6 cm in width and 6.8 cm in profile, which corresponds to the tastes of the time of their appearance: a small head with a large physique was considered by the Japanese a beautiful feature of appearance. Some masks also reflect another fashion of the past: in order to emphasize the height of the forehead, women shaved their eyebrows and drew their line almost at the root of the hair.
泥眼/Deigan
Three photographs of a woman's mask, showing changes in facial expression depending on the angle of the mask in relation to the observer (photos taken with a fixed light falling on the mask mounted on a wall)
喝食 | Kasshiki (Young) 
童子 | Doji represents a little boy who symbolizes eternal youth as the embodiment of God. The word doji literally means “child” in Japanese, but in Noh it refers to being divine. This mask projects a feeling of noble and graceful beauty.
中将 | Chujo -This mask takes the name from the early Heian poet, Ariwara no Narihira. He was a man born a nobleman and a lieutenant general (chujo) of the fifth rank. He was also called “one of the six famous poets” during this period. This mask was modeled on him.
痩男 / Yase-otoko - literally means thin person in Japanese. This is the spirit of the dead. The old look is shown with sunken cheeks, sunken eyes and a depressed open mouth.
橋姫 / Hashihime - or "Bridge Princesses", are characters in the novel The Tale of Genji (Genji Monogatari. They are the daughters of a disgraced prince
一角仙人 | Ikkaku Sennin is an immortal man, also known as the Xi'an immortal; superior; gin; wizard; jdinn; sage; hermit
| Kagekiyo is modeled after the brave Heike commander, Akushichibyu Kagekiyo, who was exiled to Miyazaki in Kyushu. He gouged out his eyes to be blind because he did not want to see a world ruled by the opposite clan, the Genji. This is the mask of a worthy warrior.
笑尉 | Warai-jo - The name of this mask is “Warai” which means smile in Japanese. This mask looks most of the common man in all Jo-masks. A gentle smile around her eyes and mouth gives a serene and peaceful atmosphere. This mask is used for the old fisherman
朝倉尉 | Asakura-jo is the mask of the clan of Lord Asakura who ruled Echizen (Fukui Prefecture), or the Noh song “Asakura” in Noh play “Yashima”. This mask has prominent cheekbones and upper and lower teeth in an open mouth. These features make this mask look friendly and good-natured.
山姥 / Yamanba -Mountain witch, a character similar to our Baba Yaga
姥 | Uba - mask of an older woman in Japanese. This mask has sunken cheeks, some wrinkles on her forehead and cheeks, and gray hair.
般若 | Hannya is a mask that represents a terrible grin of a jealous woman, demon or snake, in her upright position. However, if the mask is tilted slightly, the sloping eyebrows create the appearance of an inconsolably sobbing face. The mask has two sharp bull horns, metallic eyes and a half-open mouth from ear to ear. The mask represents the soul of a woman who has turned into a demon due to obsession or jealousy. The spirit of a woman abandoned by her lover for another or deceived by him comes in this form to take revenge on her rival; Hannya's distinctive and intimidating appearance make it one of the most recognizable Noh masks.
One tradition claims that this name was given to the mask after the artist, the monk Hannya-bo (般若坊), who is said to have perfected its appearance. Another explanation is that the perfect wisdom of the sutras and their variations was considered especially effective against female demons.
Hannya comes in different colors: a white mask indicates a woman of aristocratic status (for example, Lady Rokujo in the second part of Aoi no Ue), a red mask depicts a woman from the lower classes, and a burgundy, dark red mask depicts the actual demons that have taken possession of the female body. .
蛇/Jya
平方般若 / Hirakata Hannya
小獅子 | Kojishi
小飛出 | Ko-tobide - This mask is used for a god-sent spirit, or ghost
小べし見 | Ko-beshimi
釣眼 | Tsurimanako
翁 | Okina - may be a "storyteller", now the name given to adult fans of anime, manga or series that are primarily aimed at children.
空吹 | Usobuki - They feed on the life force of small creatures, and often take the form of butterflies in winter and flowers in spring.
小猿 | Kozaru
不動 | Fudou
Until the 17th century, masks were carved by the actors themselves, monks or sculptors; Since the 17th century, their production has been specialized in families, passing on the skill from generation to generation. Masks created before the Edo period are called hommen (本面, “original masks”), after which they are called utsushi (写し, “copies”).
Utsushi are carved according to ancient patterns from Japanese cypress or (less commonly) paulownia. The wood is used 10-12 years after felling: it is kept in water for 5-6 years, and then dried for several years. The master begins his work by sharpening his tools. On the front side (closest to the core) of the source material - the block - he marks the proportions of the face with horizontal lines. This is followed by the konashi (“rough carving”) stage: the craftsman uses chisels and a hammer to cut out the main planes of the workpiece. In the next stage of kozukuri (“detailed elaboration”), cutters and knives of various shapes are used. Then the master, using a curved magarin chisel, processes the inside of the mask, smoothes the front and back sides, and varnishes the inside. Next, the master begins priming and painting the front side of the mask. The soil, including crushed sea shells, is laid in 15 layers, with every third layer sanded with sandpaper. For painting, a mixture of fine-grained chalk and paint is used; layers are applied five times. After tinting, the mask is given an antique look (the so-called koshoku): it is smoked under the smoke generated by burning pine logs. Then the front side is painted in detail: the eyes are drawn, the lips are tinted, the hairstyle and eyebrows are drawn.
S. P. Shkolnikov
The theater has gone through a long and difficult path of development. The origins of the theater go back to cult rituals.
The first cult masks
Iroquois mask – alien/false face (left and right)
Ancient people believed that a person who puts on a mask receives the properties of the creature that the mask represents. Animal masks, as well as masks of spirits and the dead, were especially widespread among primitive peoples. Totemic games and dances are already an element of theatrical art. Totemic dance marks attempts to create an artistic and aesthetic image in dance. 
In North America, Indian totemic dances in masks, which were of a cult nature, involved a kind of artistic costume and a decorative mask, crumbled with symbolic ornaments. The dancers also made double masks of a complex design, depicting the dual essence of the totem - a man was hidden under the animal appearance. Thanks to a special device, these masks quickly opened, and the dancers were transformed.
The further process of development of animal masks led to the creation of a theatrical mask vaguely reminiscent of a human face, with hair, beard and mustache, i.e., to the so-called anthropozoomorphic mask, and then to a mask with a purely human appearance.
Before the mask became part of the classical theater, it went through a long evolution. During hunting dances, animal skulls were replaced by decorative masks, then portrait masks of funeral ceremonies appeared, which gradually turned into fantastic “zoomistery” masks; all this was reflected in the Mongolian “Tsam”, the Javanese “Barongan” and in the Japanese “No” theater.
Masks of the Topeng Theater
Topeng Theater mask (left and right)
It is known that the mask theater in Indonesia, called Topeng, grew out of the cult of the dead. The word "topeng" means "tightly pressed, closely adjacent", or "mask of the deceased." 
The masks that characterize the Malay theater are extremely simple. They are oval wooden planks with cut out holes for eyes and mouth. The desired image is drawn on these boards. The mask was tied with twine around the head. In some places (at the nose, eyes, chin and mouth) the wooden base of the mask was hollowed out, thereby achieving the impression of volume.
The pantomime mask had a special device: a loop was attached to its inside, which the actor clamped between his teeth. Later, as the theater developed and transformed into a professional one, the actors began to play without masks, heavily painting their faces.
Antique masks
Tragic mask of the ancient theater in Greece (left and right)
In ancient Greek classical theater, masks were borrowed from priests, who used them in ritual images of gods. At first, faces were simply painted with grape squeezes, then voluminous masks became an indispensable attribute of folk entertainment, and later an important component of ancient Greek theater. 
Both in Greece and Rome they played in masks with a special mouth shape, in the form of a funnel - a mouthpiece. This device amplified the actor’s voice and made it possible for many thousands of spectators in the amphitheater to hear his speech. Antique masks were made from splint and plaster of cloth, and later from leather and wax. The mouth of the mask was usually framed with metal, and sometimes the entire mask inside was lined with copper or silver to enhance resonance. Masks were made in accordance with the character of a particular character; Portrait masks were also made. In Greek and Roman masks, the eye sockets were deepened, and the characteristic features of the type were emphasized with sharp strokes.
Triple mask
Sometimes the masks were double and even triple. The actors moved such a mask in all directions and quickly transformed into certain heroes, and sometimes into specific individuals, contemporaries.
Over time, portrait masks were banned and, in order to avoid even the slightest accidental resemblance to high-ranking officials (especially the Macedonian kings), they began to be made ugly.
Half masks were also known, but they were very rarely used on the Greek stage. Following the mask, a wig appeared on the stage, which was attached to the mask, and then a headdress - “onkos”. A mask with a wig disproportionately enlarged the head, so the actors wore buskins and increased the volume of their bodies with the help of thick caps.
Roman actors in ancient times either did not use masks at all, or used half masks that did not cover the entire face. Only from the 1st century. BC e. they began to use Greek-type masks to enhance the sound of their voices.
Along with the development of the theatrical mask, theatrical makeup also appeared. The custom of painting the body and face dates back to ritual activities in ancient China and Thailand. To intimidate the enemy, when warriors went on a raid, they put on make-up, painting their faces and bodies with plant and mineral paints, and in certain cases with colored ink. Then this custom passed on to folk ideas.
Makeup in classical Chinese theater
Make-up in the traditional classical theater of China dates back to the 7th century. BC e. Chinese theater is distinguished by its unique centuries-old theatrical culture. The system of conventional depiction of the psychological state of an image in the Chinese theater was achieved through traditional symbolic painting of masks. This or that color denoted feelings, as well as the character’s belonging to a certain social group. So, red color meant joy, white - mourning, black - an honest way of life, yellow - the imperial family or Buddhist monks, blue - honesty, simplicity, pink - frivolity, green was intended for maids. The combination of colors indicated various psychological combinations, shades of the hero’s behavior. Asymmetrical and symmetrical coloring had a certain significance: the first was characteristic of the depiction of negative types, the second - for positive ones.
In the Chinese theater they also used wigs, mustaches, and beards. The latter were made from sarlyk animal hair (buffalo). The beards came in five colors: black, white, yellow, red and purple. They also had a conventional character: a beard covering the mouth testified to heroism and wealth; a beard divided into several parts expressed sophistication and culture. The beard was made on a wire frame and attached behind the ears with hooks coming from the frame.
For makeup, they used harmless dry paints of all colors, which were diluted in water with the addition of a few drops of vegetable oil to obtain a shiny surface of the face. The overall tone was applied with the fingers and palms. Long pointed sticks were used to paint and line the lips, eyes and eyebrows. Each paint had its own stick, which Chinese artists used to work masterfully.
Women's makeup was characterized by a bright general tone (white), on top of which cheeks and eyelids were blushed, lips were painted, and eyes and eyebrows were lined with black paint.
It is not possible to establish the number of types of makeup in Chinese classical theater; According to inaccurate data, there were up to 60 of them.
Mask at the No Theater
Noh Theater Mask
Performances of the Japanese Noh theater, which is one of the oldest theaters in the world, can still be seen today. According to the canons of the No theater, masks were assigned to one leading actor in all two hundred canonical plays in the repertoire and formed an entire branch of art in this theater. The rest of the actors did not use masks and performed their roles without wigs or makeup.
The masks belonged to the following types: boys, youths, spirits of the dead, warriors, old men, old women, gods, girls, demons, half-animals, birds, etc.
Makeup at the Kabuki Theater
Makeup at the Kabuki theater
The classical theater of Japan "Kabuki" is one of the oldest theaters in the world. Its origin dates back to 1603. On the stage of the Kabuki theater, as in other Japanese theaters, all roles were played by men.
Make-up in the Kabuki theater is mask-like. The nature of the makeup is symbolic. So, for example, an actor, when making up for a heroic role, applies red lines to the overall white tone of his face; the one playing the role of the villain draws blue or brown lines on a white current; the player playing the sorcerer applies black lines, etc., to the green tone of the face.
Japanese theater has very unique and bizarre features of wrinkles, eyebrows, lips, chin, cheeks, etc. The techniques and makeup techniques are the same as those of Chinese actors.
Beards also have a stylized character. They are distinguished by fancy, sharp, broken lines and are made according to the Chinese principle.
Mystery Theater
As ritual performances turn into spectacles, performances acquire increasingly specific themes, which depend on the social and political conditions of the era.
In Europe, the ancient world was replaced by the dark Middle Ages. The pressure of church obscurantism on all forms of public life forces the theater to turn to religious subjects. This is how the mystery theater appears, which lasted for about three centuries. The actors in these theaters were city dwellers and artisans, and this introduced folk-everyday motifs into the performances: the “divine” action was interrupted by cheerful interludes and clownery. Gradually, the interlude begins to displace the main action, which was the reason for the persecution of the church against this theater. The Mystery Theater became especially widespread in France.
During the Renaissance (from about 1545), professional theaters appeared in France. Itinerant comedians united in troupes, which were acting artels.
The actors of these theaters specialized primarily in the comic, farcical repertoire and therefore were called farcers. Female roles in farcical performances were performed by young men.
Teatro del Arte
Teatro dell'arte character: Harlequin
In the 30s of the 16th century. The theater dell'arte emerges in Italy. The performances of Italian dell'arte comedians differed from the performances of French actors not only in the higher level of acting technique, but also in the culture of mask and makeup design.
The first del arte performances took place in Florence, with actors wearing masks. Sometimes the mask was replaced with a glued nose. It is characteristic that only the performers of the roles of two old men and two servants wore masks.
Commedia dell'arte masks originated in folk carnivals. Then they gradually migrated to the stage.
Commedia dell'arte masks were made from cardboard, leather and oilcloth. The actors usually played in one, definitely established mask. The plays changed, but the masks remained unchanged.
Masked characters were mostly played by comedic characters. There were also roles for which, instead of a mask, it was necessary to put on makeup with flour and paint the beard, mustache and eyebrows with charcoal. According to tradition, actors playing lovers did not perform in masks, but decorated their faces with makeup. .jpg)
Teatro dell'arte character: Coviello
Figurative masks began to be assigned to certain performers who played the same role.
The masks of the Commedia dell'Arte were very diverse (the Commedia dell'Arte theater had more than a hundred masks). Some masks consisted only of the nose and forehead. They were painted black (for example, the doctor's); the rest of the face, not covered by a mask, was made up. Other masks provided for a certain coloring of the wig, beard and mustache. Masks were used as a means to emphasize the expressiveness of the intended type. They were made of all kinds of characters and painted in relation to the types of the performance. In general, commedia dell'arte masks were divided into two groups: folk comedy masks of servants (Zani); satirical masks of gentlemen (buffon core - Pantalone, doctor, captain, Tartaglia).
In some commedia dell'arte performances, actors skillfully transformed themselves in front of the audience, replacing one mask with another.
Initially, in imitation of the ancient ones, masks were made with an open mouth; later, in an effort to bring the masks closer to the natural face, the mouths began to be made closed (the latter was also caused by the fact that in pantomimes the mouthpiece becomes unnecessary). Even later, they began to cover only half of the actor’s face. This contributed to the further development of mimic play. Commedia dell'arte has always strived for a realistic representation of the image not only in the social and psychological appearance of masks, but also in speech, movement, etc.
XVII-XVIII centuries in Europe - the era of classicism. This was reflected in the reconstruction of the theater. In the classical theater, makeup and wigs were the same as in everyday life. The representations were conditional. Playing in the plays of Corneille and Racine, dedicated to ancient antiquity, the actors outwardly continued to remain people of the 17th-18th centuries. Make-up at this time was determined by the entire structure of life of the French court, which the theater imitated. This period is characterized by the dominance of flies. It was believed that flies give a languid expression to the eyes and decorate the face.
Shkolnikov S.P. Minsk: Higher School, 1969. Pp. 45-55.
