What are the artistic characteristics of Sichuan Opera - The artistic characteristics of Sichuan Opera
Symbolic patterns
On the premise of using colors to set the tone, the characters’ faces are outlined with symbolic meanings Sexual and allegorical patterns to show the character traits of the characters in the play. People either praise, ridicule, or criticize the characters in the play, and their praise and belittlement can all be reflected in the patterns.
For example, Bao Zheng’s black face is painted with patterns such as a mountain-shaped pen holder, a red pen, the character longevity, a crescent moon, and the sun, symbolizing his high official status, law enforcement, and integrity throughout his life. Guan Yu's red face is painted with the pattern of lying silkworm eyebrows, three incense sticks and the word "pin", which shows that he is brave and loyal and must keep his faith. Zhao Kuangyin also has a red face, and his dragon-patterned eyebrows indicate that he is a generation of emperors. The yintang or the white stroke on his eyelids shows his suspicious and insidious character. Xiang Yu's black and white face is painted with seven-star Big Dipper, longevity-shaped dragon patterns, swords, tiger and leopard eyes, etc., which shows that he had the power of heaven and drew his sword to commit suicide for a generation of powerful tyrants and defeated the Wujiang River.
Animal patterns
Using animal patterns to express character characteristics is a major feature of Sichuan Opera facial makeup. For example, Ma Jun, a hero of the world, was known as "Jade Butterfly", so a colorful butterfly was drawn on Ma Jun's face; a duck with spread wings was drawn on the face of the Taoist Green Duck; and a twisting blue circle was drawn on the face of the snake spirit. Green snake and so on.
It is particularly important to mention that the drawing of these animal patterns needs to fully conform to the distribution characteristics of the actors’ facial muscles. For example, the snake's head and mouth are drawn on the actor's mouth, the snake's body is coiled on the cheeks, and the snake's tail extends to the eyebrow muscles. In this way, the opening and closing of the actor's mouth just reflects the opening and closing of the snake's mouth, and the movement of the entire facial muscles just drives the crawling of the snake's body. Another example is the Crab King in "Water Floods the Golden Mountain". A large crab claw is outlined in the actor's mouth, and the movement of the mouth muscles just reflects the opening and closing movement of the crab claw.
Designing and drawing facial makeup with animal patterns is by no means a rigid application of animal patterns on the face, but requires artistic processing of deformation, exaggeration, and clever arrangement, whether using the whole animal or a part of it , all need to be based on the needs of the role, the needs of the performance, and the shaping and portraying of character characteristics. When drawing animal facial makeup, we must strive to have bright colors and decorative beauty, and we must fully consider the norms of the various professions of the characters in the play. This means that when drawing animal facial makeup, we must also have big, two-flowered, small, and domineering faces. the difference.
Baer face
Baer face is also called Baer painted face. It is the appearance of the teenage characters in the play, reflecting the characters' vigorous and vigorous characteristics. Ba'er's face continues the characteristics of the character's middle-aged and elderly facial makeup. It does not have a mouth stripe. Generally, the nose is used as the boundary, and only the upper part of the face is outlined. Ba'er's face also has the function of implicitly expressing the physical characteristics of the character's descendants.
For example: The red-faced Guan Yu was still a young man in "The Moon Kills the Bear", and his facial makeup was a half-red red face. The black-faced Mr. Bao became an official for the first time in "Double Punishment". He was still an impatient and upright young man, so he was given a black-faced look. Shi Yinglong, the young hero in "Polo Flower", has a mandarin duck face. Zhang Fei's son Zhang Bao has a black face, and Niu Gao's son Niu Tong has a white face. They both inherit their father's arrogance and are young and energetic.
Text facial makeup
In Sichuan Opera facial makeup, words are also used as shapes to express character characteristics. Outline calligraphy Chinese characters in prominent positions on the character's face, and add other decorative patterns. Text facial makeup mostly appeared on the stage before the 1950s. The text facial makeup in this book was obtained based on the repeated sketches of senior Sichuan opera artists. It can be roughly divided into two types: simple text modeling and abstract text modeling. There are also calligraphy forms such as seal script, official script, regular script, running script, and cursive script.
For example, Niu Gao's forehead is written with the official script "Niu" character; Li Kui's forehead is written with the official script "Li" character; Yama Wang's forehead is written with the regular script "Yan" character; Kuixing's forehead is written with the regular script "Dou" character; It is said that Yang Qilang descended to earth for the Black Tiger Star, and the word "Tiger" was written in cursive on the face of his Black Tiger. People often say that "the face is the signature", and the facial makeup with words plays the role of the signature to introduce the characters in the play.
Musical Instruments
Sichuan Opera gongs and drums are an important part of Sichuan Opera music. There are more than 20 kinds of musical instruments used in it. The commonly used ones can be shortened to small drums, hall drums, large gongs, large cymbals, and small gongs (also called hinges), collectively called "Five Fangs". Adding string instruments and suona are called Six Fangs. Snare conductor. This is a light band that goes to perform in rural areas. There are about three hundred gongs and drums. ?Pretend to be like a dragon, pretend to be a tiger?, this sentence describes and requires Sichuan Opera performances, and has been passed down from generation to generation among Sichuan Opera actors. Sichuan Opera performances have a profound tradition of realism, and at the same time, they use a large number of artistic exaggeration techniques to make the performances realistic, delicate, graceful and moving.
Qupai
Sichuan Opera Gaoqiang is a type of music with Qupai style. There are many Sichuan Opera Gaoqiang tunes and their forms are complex. Its structure can basically be summarized as: starting the tune, standing the column, singing the tune, and finishing. There are many high-pitched repertoires, a wide range of themes, and adaptable to a variety of text formats. The most important feature of Gaoqiang is dry singing without instrumental accompaniment, which is the so-called "One Singing and All in Harmony" form of singing, which integrates singing, drumming and singing. The gong and drum tunes are all composed in this way. Some Qupai have more accompaniment than singing, some are basically all accompaniment, and some Qupai only have accompaniment in the first and last two lines. The specific form is determined by the opera.
Face Changing
In Sichuan Opera performances, as the plot turns and the inner world of the characters changes, the facial makeup also needs to change accordingly. How to change facial makeup in a play? Sichuan Opera artists invented the stunts of changing faces, pulling faces and wiping out eyes. These stunts are all used during stage performances without being noticed by the audience, in order to achieve a strong performance effect of instantaneous changes in the characters' facial makeup.
The most common way to change faces is by blowing powder. Face-pulling involves drawing facial makeup on thin silk. During the performance, the thin silk previously attached to the face is quickly and skillfully removed layer by layer. Rubbing the eyes is a method of partially changing the facial makeup. During the performance, the actors will quickly apply black pine smoke on their fingers to blacken the area around the eyes.
For example, when Le Yangzi in "Zhi Zhongshan" learned that the meat soup in front of him was his biological son, the actor used the method of blowing gold powder from his mouth to make Le Yangzi's natural face suddenly turn golden His face and mouth strips also changed from black to white. This change of face depicts the strong stimulation of Le Yangzi's soul, and the change of face to heart is the most vivid expression. Qing'er in "Broken Bridge" wants to take revenge on the heartless Xu Xian; Chen Cangmo in "Flying Cloud Sword" wants to hunt down the scholar Ning Caichen. During the performance, their faces changed again and again, which strongly showed Qing'er's The magical power and the ferocious cruelty of the Chencang succubus exaggerated the atmosphere of the performance. In "Water Floods the Golden Mountain", Zijin Raobo wants to subdue the demon and tame the white snake, and the fighting methods between the two sides are thrilling. When the plot reached its climax, the actor used the "face-pulling" technique to make Zijin Raobo's face instantly appear in various colors such as red (happiness), blue (anger), white (sadness), green (joy), etc., depicting the Zijin Raobo's ever-changing divine power and magic power vividly demonstrates his complex personality. In "Love Detective", Wang Kui, the new top scholar in the field, was killed by the ghost of his ex-wife Jiao Guiying on their wedding night. At this time, the actor used the technique of "wiping his eyes" to show Wang Kui's dejected and ugly state. In "Sit on the Tower to Kill", in order to express Song Jiang's sudden desire to kill, the actor also used the technique of "bulging eyes".
The most famous technique in Sichuan Opera is face-changing, which includes wiping, rubbing, wiping, blowing, drawing, wearing, holding back, and pulling. In Sichuan, Mr. Wang Daozheng is known as the face-changing king of Sichuan Opera.
What is face-changing
Face-changing is one of the stunts performed in Sichuan Opera. It is used to reveal the inner thoughts and changes in thoughts and feelings of the characters in the play, that is, to express invisible and insensible abstract emotions. And the psychological state becomes a visible and perceptible concrete image? Facebook. It has become one of the major features of Sichuan Opera appreciation today.
The evolution of facial makeup
The original facial makeup was a paper mask, which was later improved and developed into a mask drawn on papyrus. During the performance, fireworks or folding fans were used to cover the mask, and the mask was peeled off layer by layer to create a new mask. After the founding of China, with the rapid development of face-changing stunts, the materials for making facial makeup also developed into the satin fabrics used today, which greatly facilitated actors' performances.
Facial makeup styles
Face-changing facial makeup will choose some unknown people, including knights, ghosts and other shapes, while well-known facial makeup, such as Guan Gong, Cao Cao, Bao Gong and other figures Facebook is generally not used to change faces. The strokes of the face-changing facial makeup should be sharp and rough, and the color contrast should be strong, so as to create a dazzling auditorium effect. The design of the color and meaning should be based on the moral quality and role types of the characters in the play, either to praise or expose Irony, criticism, derogation or praise can all be reflected in facial makeup colors.
Techniques
Face-changing techniques are generally divided into three types: "wiping the face", "blowing the face", and "pulling the face". In addition, there is a kind of "luck" change of face.
Face application: Apply makeup paint to a specific part of the face. When performing, you can change your face to another color by swiping it on your face with your hands. If you need to change the entire face, apply oil paint on the forehead or eyebrows. If you only want to change the lower half of the face, apply oil paint on the face or nose. Xu Xian in "The Legend of White Snake" uses "wiping his face".
Face blowing: Use powdered cosmetics, such as gold powder, silver powder, toner, etc., into a specific container. During the performance, the actor only needs to put his face close to the container and blow on it, and the powder will be sprayed on it. On the face, you must close your eyes, mouth, and breath when blowing. For the face blowing in "Capture Zidu Alive", the makeup powder is placed in a wine glass. More often, a small box containing the powder is placed on the floor of the stage. The actor only needs to do a dance move of lying on the ground. You can take the opportunity to put your face close to the box.
Face-changing: "Face-changing" is a more complicated face-changing method. It involves drawing facial makeup on pieces of silk in advance, cutting them, tying a handful of silk thread to each mask, and then sticking them on the face one by one. The silk thread is tied to a convenient and unobtrusive place on the clothes (such as a belt). As the plot progresses, it is ripped off piece by piece under the cover of dance moves. For example, the Botong (Purple Gold Bo) in "The Legend of White Snake" can turn into seven or eight different faces, including green, red, white, and black. Another example is the thief in "Jiuzhenglou" and Nie Long in "Wangniangtan", who also use face-pulling. ?It’s a bit difficult to make a fool of yourself. First, there should not be too much adhesive to stick the facial makeup on, so that it will not be able to be pulled off, or all the facial makeup will be pulled off at once. Second, the movements must be clean and neat, and the fake movements must be clever and able to deceive the audience.
Luck: As the name suggests, you use Qigong to change your face. Legend has it that when the late famous Sichuan Opera actor Peng Sihong played Zhuge Liang in "The Empty City Strategy", when Qintong reported that after Sima Yi's soldiers retreated, he was able to use Qigong to turn his face from red to white, and then from white to green, which was intended to show Zhuge Liang's relief. The fear behind. ;