Makeup+in+Beijing+Opera+by+Cari+Favole

//Cari Favole//
 * Makeup in Beijing Opera**

Beijing Opera is known for the artistry and beauty that each aspect of the drama exudes, and the makeup is no exception. The elaborate Makeup was designed based off of masks used in ancient dances. During the Tang Dynasty (618-907 A.D.), dancers began painting on their face to symbolize girls or ghost characters, instead of using masks [1]. This was the start of using makeup to express the identity and personality of each character. The process started out fairly simple, but by the 17th century the makeup styles began to progress; the color of the makeup was no longer limited to black and white [1]. As we’ve seen in both Kathakali and Kabuki makeup, the new colors used have symbolism. A red faced character stands for loyalty, yellow for cunning, a white face means treachery, Black face means the character is wise and brave, blue and green stand for both stubborn rebels and uprightness, purple is serenity and justice, and silver and gold are for the supernatural [1,2,3,4]. “ The proportion of the face covered in that colour indicates the degree to which they embody that characteristic” [3].  There are now more than twenty varieties of makeup patterns.

Specific makeup patterns represent the different roles in Beijing Opera. There are four main types: The leading male (Sheng), the leading femal ( Dan), Painted face male roles (Jing) and clowns (Chou) [3]. With one or two exceptions, only the Jing and Chou characters wear the very elaborate and stylized makeup (as seen in the above picture) which is called "lianpu" [4]. It is these characters who use the color symbolism to nonverbally explain their personality.

Sheng characters can be acrobatic warriors (wusheng), middle age to old men (lao sheng) or young men (xiao sheng) [4]. The exception to the painted face is the Hongsheng. His face is red and can represent one of two characters: the God of war, or the first emperor of the Song Dynasty [3]. The Sheng makeup style is very similar to the Dan style, and therefore those new to the art form would say it has a feminine look. This statement might be accurate, but not in a derrogatory way. The Sheng characters are usually composed, calculated, intelligent and honest. The "lover" character falls under the Sheng role; therefore, he must be tender and caring. The face is first covereed with white paint, which is then powdered. Red makeup is then applied around his eyes as well as his lips.

Dan roles are for all women characters, who are then subcategorized: the warrior woman (wu dan), the middle age to old woman (lao sheng), the woman with strict morals (qing yi) and the flirtatious woman (hua dan) [4]. The female clown counterpart (caidan) also falls under this category. Their makeup pattern is an exact match with the Sheng, with the exception that the eyes are a bit more pronounced, and the red powder carries a bit down the nose as well as around the eyes.

Jing roles are very masculine with low, gruff voices and elaborate costumes. They represent the overly heroic or demon characters and have two main divisions: the civilian type (wen jing) and the warrior (wu jing) [4]. There are many different styles of Jing lianpo, including the "whole face", "three-tiled face", the ""quartered face", the "six-division" face, the "tiny-flowered" face, and the "lop-sided" face [2]. Although there are only about 15 styles for Jing character makeup, each specific character tweaks the design to fit the actor's needs [6].

Chou characters are the comic relief of Beijing Opera. They can be described as “ likeable buffoons with blinking eyes and exaggerated gestures” [3]. They, like the Jing, have the civillian type (wen chou) and the warrior (wu chou) [4]. The makeup is most recognizable for the white patch painted on the center of the face. There are very few variations of the Chou makeup style, one of which is the wu chou, whose small, white patch between the eyes represents an "astute mind and a quick wit" [2].

The importance behind the makeup of Beijing Opera is very similar to that of both Kathakali and Kabuki makeup. Those who are familiar with these theatre styles can immediately know a character on stage based on their makeup and costume. In fact, while all three genres are undeniably fascinating and unique, they also share many similarities. The makeup process is long and potentially difficult for all of them, yet those trained in the fields can do each inch of paint exactly where it needs to be; much like an artist with each brush stroke. The color symbolism is one of the most important features of the makeup in all three styles, and the meanings behind the colors often agree as well.

Beijing Opera is one of the oldest and most crafted Performing Art alive and its structured makeup is definitely a part of that. It has and will continue to inspire the world with its unique beauty and design.

This is an artistic documentary on the application of the makeup:

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This is an unofficial documentary of an amateur artist preparing for a performance:

media type="youtube" key="nVt37MKDxHI" height="344" width="425" align="center"

For some fun, a song about Beijing Opera makeup!

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__**Works Cited:**__ [1] __Chinese Reports - A Window to China, 1st Sample Issue.__ Nan Hai Co., Inc., U.S.A 510 Broadway, Suite 300 Millbrae, CA 94030 (415) 259-2100 #|fax (415) 259-2108 (Nan Hai Video VHS NTSC 1836.1)

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