中國(guó)文化英文之京劇pekingoperappt課件

1、Peking Opera Is Peking Opera anything like western opera?They have very little in common. Peking Opera is much more than mere opera. Peking Opera combines many art forms. Apart from singing and recitation, it includes traditional Chinese music, poetry, dancing, pantomime, elaborate costumes and make

2、-up, acrobatics and martial arts.The demands from various art forms call for versatility on the part of the performers.An all-round top-notch Peking Opera performer, must be good-looking or attractive when appearing in make-up, of pleasing physical proportions, with a pair of expressive eyes and a r

3、ich variety of facial expressions.Whether of the warrior type or not, an actor must undergo years of fundamental training in martial skills so that every movement on the stage is gracefully and precisely executed and every pose assumed at the end of a movement makes the performer resemble a piece of

4、 well-executed sculpture, thereby increasing the aesthetic value of the acting.The foundation of Peking operaPeking Opera, also known as Ping Opera or Capital Opera, is Chinas most popular kind of traditional opera, circulating in Beijing (as the center) and the rest of the country. Back in Year 55

5、during the reign of Qianlong of Qing Dynasty, the four Anhui troupes of Sanqing（三慶）, Sixi（四喜）, Chuntai （春臺(tái)）and Hechun （春四）that were originally performing down in the south moved to Beijing gradually. They had cooperated with the Han tune artists from Hubei and accommodated part of the programs of Ku

6、n Opera and Qin Tune as well as their styles while assimilating the elements of local folk tunes before it finally became todays Peking Opera through constant communication and integration.In terms of literature, performance, music and stage arts, Peking Opera has a set of standardized procedures of

7、 performance. The performance in literatureWith historical stories as the main content for performance, Peking Opera has about 1,300 programs, with those often on play being three to four hundred. Those that are most popular among households include:群英會(huì)打漁殺家空城計(jì)貴妃醉酒三岔口霸王別姬四郎探母玉堂春長(zhǎng)坂坡 將相和穆桂英掛帥楊門女將海瑞罷官曹操

8、與楊修沙家浜紅燈記智取威虎山駱駝祥子 穆桂英掛帥劇本描寫北宋時(shí)，西夏犯境。辭朝隱居的佘太君聞?dòng)?，遣曾孫楊文廣、曾孫女楊金花去汴京探聽。楊文廣在校場(chǎng)比武,刀劈兵部尚書王強(qiáng)之子王倫,奪得帥印歸來。穆桂英深感朝廷刻薄寡恩，不愿再為它效力。佘太君勸她以抵御西夏侵?jǐn)_為重，穆桂英乃掛帥出征。集中塑造了穆桂英的英雄形象。打漁殺家原劇講梁山英雄阮小七（易名蕭恩）獲得一顆寶珠，頂在頭上入水，可以避水開路。后來成為蕭恩的女兒蕭桂英訂親的信物。蕭恩與眾兄弟分手后，帶女兒在江邊打魚為生。遇故人李俊攜友倪榮來訪，同飲舟中。因天旱水淺，打不上魚，欠下了鄉(xiāng)宦丁士燮的漁稅，丁自燮催討漁稅，李、倪斥之，得罪了丁府。丁府派教師爺

9、率家丁鎖拿蕭恩，蕭恩忍無可忍，將眾人打得落花流水。蕭恩憤恨之下大發(fā)英雄神威，帶著女兒黑夜過江，以獻(xiàn)寶珠為名，夜入丁府，殺了漁霸全家。 圖：梅蘭芳飾蕭桂英、周信芳飾蕭恩群英會(huì)劇情： 取材于三國(guó)演義，曹操率軍南下攻吳，周瑜故友蔣干過江訪瑜，誘蔣盜去假造之曹營(yíng)水軍都督蔡瑁、張?jiān)手磿?。蔣干自以為聰明，曹操果中計(jì)，怒斬蔡、張二人。 空城計(jì)三國(guó)時(shí)期，魏國(guó)派司馬懿掛帥進(jìn)攻蜀國(guó)街亭，諸葛亮派馬謖駐守失敗。司馬懿率兵乘勝直逼西城，諸葛亮無兵迎敵，但沉著鎮(zhèn)定，大開城門，自己在城樓上彈琴唱曲。司馬懿懷疑設(shè)有埋伏，引兵退去。等得知西城是空城回去再戰(zhàn)，趙云趕回解圍，最終大勝司馬懿。 沙家浜抗戰(zhàn)時(shí)期，江南新四軍浴血抗日

10、，某部指導(dǎo)員郭建光帶領(lǐng)十八名新四軍傷病員在沙家浜養(yǎng)傷，“忠義救國(guó)軍”胡傳魁、刁德一假意抗戰(zhàn)暗投日寇，地下共產(chǎn)黨員阿慶嫂依靠以沙奶奶為代表的進(jìn)步抗日群眾，巧妙掩護(hù)了新四軍安全傷愈歸隊(duì)，最終消滅了盤踞在沙家浜的敵頑武裝，解放了江南大好河山。 The performance in musicIts tune is actually a variation of clapper style 板式變化體戲曲音樂的一種結(jié)構(gòu)形式。它以一對(duì)上、下樂句為基礎(chǔ)，在變奏中突出節(jié)拍、節(jié)奏變化的作用，以各種不同的板式（如三眼板、一眼板、流水板、散板等）的聯(lián)結(jié)和變化，作為構(gòu)成整場(chǎng)戲或整出戲音樂陳述的基本手段，以表現(xiàn)各種不

11、同的戲劇情緒。 The accompaniment of Peking Opera comes in Quiet Setting and Dynamic Setting: for the Quiet Setting, the Huqin fiddle 胡琴 (Jinghu fiddle京胡), Peking Erhu京二胡, Yue zither月琴, Xianzi弦子, flute笛子and trumpet嗩吶, with Huqin fiddle as the main instrument;for the Dynamic Setting, drum clappers are mainly

12、 used besides Little gong and Big Gong as complement.The roles of Peking OperaThe roles of Peking Opera fall into:Sheng (male) 生Dan (female) 旦Jing (painted face)凈Chou (clown) 丑There are further classifications among eachrole: e.g. in the role of Dan (female):Qingyi (Black Gown)青衣Huadan (Young Lady)花

13、旦Daomadan (swordplay and horse ride) 刀馬旦Wudan (swordplay)武旦Laodan (old female)老旦The role of shengThe role of danThe role of jing主要扮演性格、品質(zhì)或相貌不同于一般、有突出特征的男性人物，俗稱花臉張飛關(guān)羽包拯The role of chouThe schools and famous performers of Peking OperaPeking Opera is divided into The Beijing School and The Shanghai Sch

14、ool with many noted performers at various stages such as :清末的程長(zhǎng)庚、余三勝、張二奎、梅巧玲、譚鑫培、孫菊仙、汪桂芬、劉鴻聲、田桂鳳、余紫云、陳德霖、王瑤卿等.民國(guó)年間的余叔巖、言菊朋、高慶奎、馬連良、楊寶森、梅蘭芳、程硯秋、荀慧生、尚小云、周信芳、金少山等. The four great masters of Peking Opera 王瑤卿給四大名旦每人一個(gè)字的評(píng)價(jià)，直接反映各人特色。梅蘭芳“樣”(扮相秀美，“討老婆要像梅蘭芳，生兒子要 像周信芳”)程硯秋“唱”(注重四聲，追求“聲、情、美、水”的高度 結(jié)合 )荀慧生“浪”(功底深

15、厚，嗓音寬亮，唱腔剛勁 )尚小云“棒”(唱腔中融入了河北梆子的唱腔、唱法、表 演的精華 )Master Mei Lanfang梅蘭芳（1894年-1961年），1894年生于北京，他出生于京劇世家。10歲登臺(tái)在北京廣和樓演出天仙配，工花旦。1908年搭喜連成班。1911年北京各界舉行京劇賞評(píng)選活動(dòng)，張貼菊榜，梅蘭芳名列第三名探花。代表作品：五花洞貴妃醉酒嫦娥奔月霸王別姬黛玉葬花等Beijing Opera Classic :The Drunken Beauty(A Representative Play of the Mei School)The Drunken Beauty tells a

16、story as follows: Yang Guifei, concubine of the Emperor Li Longji of the Tang Dynasty, made an appointment with the emperor one day to attend a banquet at the Hundred-Flower Pavilion, but he didnt show up because he had gone to anothers concubines place the West Palace. Humiliated and irritated, Yan

17、g Guifei felt choked by sadness. She drank heavily, ordering Gao Lishi and Pei Lishi to replenish the cup time and time again until she got drunk. Disappointed, she finally returned to her palace. Touched up by Mei Lanfang, the play became one of the classics of the Mei School. 貴妃醉酒劇照霸王別姬劇照五花洞劇情：宋代，

18、五大郎與潘金蓮夫妻倆因年月不好，離家去尋兄弟武松。蜈蚣、蝎子、壁虎、蛤蟆、毒蛇等在五花洞修煉成精，因恨仙道張?zhí)鞄熍c它們作對(duì)，前往京都作亂。路遇武大郎攜妻潘金蓮尋訪其弟武松，見二人一矮丑、一嬌媚，相映成趣，遂幻化成二人模樣相戲。真假武大郎、潘金蓮相貌言語一般無二，難辨真?zhèn)危嘶ハ嗯ぶ陵柟瓤h衙申告。知縣吳大炮難以判識(shí)，五毒精又變出一假知縣與之哄鬧。恰逢包拯（另有版本為張?zhí)鞄煟┭惨曋链?，以照妖鏡辨出真?zhèn)?，又?qǐng)來天兵天將降服了眾妖。 The facial patterns of Peking Opera由于每個(gè)歷史人物或某一種類型的人物都有一種大概的譜式，就像唱歌、奏樂都要按照樂譜一樣，所以稱為“臉譜

19、”，約定俗成，漸成定例 。 臉譜對(duì)于不同的行當(dāng)，情況不一?！吧薄ⅰ暗泵娌炕瘖y簡(jiǎn)單，略施脂粉，叫“俊扮”、“素面”、“潔面”。而“凈行”與“丑行”面部繪畫比較復(fù)雜，特別是“凈”，都是重施油彩的，圖案復(fù)雜，因此稱“花臉”。戲曲中的臉譜，主要指“凈”的面部繪畫。而“丑”，因起扮演戲劇角色，故在鼻梁上抹一小塊白粉，俗稱“小花臉”。 The color of facial make-up 京劇臉譜色彩十分講究，看來五顏六色的臉譜品來卻巨細(xì)有因，決非僅僅為了好看。不同含義的色彩繪制在不同圖案輪廓里，人物就被性格化了。紅色-表現(xiàn)忠貞，英勇的人物性格，如：關(guān)羽. 藍(lán)色-表現(xiàn)剛強(qiáng)，驍勇，有心計(jì)的人物性格，如

20、：竇爾敦. 黑色-表現(xiàn)正直，無私，剛直不阿的人物形象，如：包公. 白色-代表陰險(xiǎn)，疑詐，飛揚(yáng)，肅煞的人物形象.如：曹操，司馬懿 . 綠色-代表頑強(qiáng)，暴躁的人物形象.如：武天虬. 黃色-代表?xiàng)n勇，兇猛的人物，如：宇文成都. 紫色-表現(xiàn)剛正，穩(wěn)練，沉著的人物，如荊柯. 金，銀色-表現(xiàn)各種神怪形象，如孫悟空等 The Patterns of Facial Make-up臉譜圖案非常豐富，大體上分為額頭圖，眉型圖，眼眶圖，鼻窩圖，嘴叉圖，嘴下圖。每個(gè)部位的圖案變化多端，有規(guī)律而無定論，如：包拯黑額頭有一白月牙，表示清正廉潔。 孟良額頭有一紅葫蘆，示意此人愛好喝酒。 楊戩畫有三眼，來源于古典傳說。 楊七

21、郎額頭有一繁體“虎”字，顯示其勇猛無敵。 趙匡胤的龍眉表示為真龍?zhí)熳印?雷公臉譜中有一雷電紋。 姜維額頭畫有陰陽圖，表示神機(jī)妙算。 夏侯惇眼眶受過箭傷，故畫上紅點(diǎn)表示。 竇爾墩，典韋等人的臉譜上有其最擅長(zhǎng)的兵器圖案。 The symbolism Symbolism is very important in Peking Opera, without being subject to the limitations of time and space.Since there are very few stage props the actors use particular body movem

22、ents to suggest a situation. That is symbolism.There are many established movements to signify opening or closing a door, entering or leaving a room, going up or down stairs, climbing a mountain or wading across a stream.It is through these stylized movements that the audience is led to an understanding