[K-12] MAPEH 8 - Peking Opera of China

This is a presentation about Peking Opera of China, which is included in Department of Education's

1. Peking Opera of China A Report by Group I of 8 - Centrioles

2. China is known for their traditional theater art form, the Peking opera , or Beijing opera which combines music , vocal performance , pantomime , dance , and acrobatics .

3. It started in the late 18 th century and became fully developed and recognized by the mid-19 th century . During the Qing Dynasty court, it became extremely popular and came to be regarded as one of the cultural treasures of China.

4. Pupils were often handpicked at a young age by a teacher and trained for seven years on contract from the child’s parents. Daytime was spent learning the skills of acting and combat and senior students performed in outside theaters in the evening. After 1911 , training took place in more formally organized schools. Students of these schools rose as early as five o’ clock in the morning exercises.

5. Characters and Roles

6. Sheng Peking Opera’s main role. There are three kinds.

7. Xiaosheng Actors are often involved with beautiful women by virtue of the handsome and young image they project.

8. It is a martial character for roles involving combat . They are highly trained in acrobatics and have a natural voice when singing. Wusheng

9. Laosheng A dignified older role . These characters have a gentle and cultivated disposition and wear sensible costumes .

10. Dan It refers to any female role in Peking Opera. There are five kinds.

11. Laodan An old woman.

12. Wudan A martial woman.

13. Daomadan A young female warrior.

14. Qingyi An elite, virtuous woman.

15. Huadan An unmarried, vivacious woman.

16. Jing Jing is a painted face male role who plays either primary or secondary roles . This type of role entails a forceful character , which means that a Jing actor must have a strong voice and be able to exaggerate gestures . The red color denotes loyalty and goodness , white denotes evil , and black denotes integrity .

17. Chou A male clown that usually plays secondary roles . Chou, meaning “ ugly ”, reflects the traditional belief that the clown’s ugliness and laughter could drive away evil spirits .

18. Visual Performance Elements Peking opera performers utilize four main skills such as the following.

19. Song Dance-Acting pure dance Speech Combat pantomime other types of dances acrobatics fighting with all manner of weaponry

20. A review on Peking Opera’s Facial Makeup Colors and Their Meanings

21. Black fierceness ........ ........ roughness

22. Blue loyalty fierceness sharpness ........ ........ ........

23. Green impulsive stubborness violence ........ ........ ........

24. Purple sophistication cool-headedness uprightness ........ ........ ........

25. Red devotion courage bravery loyalty uprightness ........ ........ ........ ........ ........

26. Reddish Purple (Magenta) just ........ ........ nobility

27. White craftiness dangerousness ........ ........ ........ suspiciousness

28. Yellow ambition cool-headedness fierceness ........ ........ ........

29. Xiaohualian It is a small patch of chalk on around the nose. Clowns of traditional drama who wears this special makeup show any mean and secretive character .

30. Aesthetic Aims and Principal Movement The highest aim of performers in Peking opera is to put beauty into every motion . The art forms, gestures, settings, music, and character types are determine by long help conventions. Conventions of movement include the following.

31. Walking in a large circle always symbolizes travelling a long distance .

32. A character straightening his or her costume and headdress symbolizes that an important character is about to speak .

33. Pantomimic is the opening and closing of the doors and mounting and descending of the stairs .

34. Staging and Costumes

35. Stage The stage are composed of s quare platforms , action on stage is usually visible from at least three sides ; stages were built above the line of sight of the viewers , but some modern stages have been constructed with higher audience divided into two parts by an embroidered curtain called shoujiu .

36. Costumes Xingtou , popularly known as Xifu , in Chinese origins of Peking opera. Costumes can be traced back to the mid-14th century . They enable the audience to distinguish a character’s sex and status at first glance – if noble or humble, civilian or military, officials or private citizens, give expressions to sharp distinctions between of good and evil or loyal and wicked characters.

37. Costumes Oblong wings ( Chizi ) attached to a gauze hat indicate a loyal official . In contrast, a corrupt official is made to wear a gauze hat with rhomboidal wing .

38. The play utilizes very few props, will almost always have a table and at least one chair , which can be turned to convention into such diverse objects as a city wall , a mountain , or a bed . A whip is used to indicate a horse , and an oar symbolizes a boat . Props

39. They are visible to the audience on the front part of the stage. Musicians

40. They immediately move to the center north upon entering the stage. All characters enter from the east and exist from the west . Performers

41. End of report. Thank you for listening! A Report by Group I of 8 - Centrioles B1 Agcamaran , Patrick Joseph B2 Asence , Erick Justin B3 Batuhan , Mark Aljo B4 Besmonte , John Michael B5 Borabien , Miguel Angelo B6 Camasis , Karl Emmanuel G1 Alvarez , Ashley Mae G2 Atienza , Paulinne Vianca G3 Bumanglag , Julia Shaane G4 Carpio , Comei G5 Coronel , Irish G6 Deuda , Angela Camille G7 Embile , Aleeyah Jasmine G8 Evale , Excella G9 Gutierrez , Urielle Rosalynne