PHYSICAL+ACTING+TECHNIQUE+IN+BEIJING+OPERA+by+Will+Goodwin

by Will Goodwin
 * __ACTOR TYPES AND TECHNIQUES__**



__GENERAL OVERVIEW OF CHARACTERS AND THEIR SPECIFIC MOVEMENTS__

The basis of Beijing Opera acting technique extends from its roots in classical Chinese dance or //ching hsi//. Originally Beijing Opera was not, in fact, dancing at all but rather interpretive movements. This is why Chinese dramatic acting features so many fluid gestures and stylized body movements today. Overall, though, it is the subjective interpretation of the role in the acting that distinguishes a good classical Chinese actor from a good one. Chinese theatregoers are notorius for their criticism, and it is up to the actor to use his body to creatively express the movements of the character he/she portrays.

Beijing Opera is a theatre of stock characters, and every character has their own movements. //Sheng// are the lead roles in Beijing Opera. These are young men who represent princes, scholars, statesmen or warriors. These characters can fall into two different smaller genres, depending on the play's context. //Wu sheng// indicates fighting and acrobatics, while //wen shang// means singing and acting only. These categories are further divided into smaller types. The overall identifying movement is indicated by bold, vigorous movement with considerable amounts of gymnastics added. Also, this character is featured in many stage combat scenes. Although a good voice is not as important with wu sheng types, it is of vital significance to the wen sheng.



//Tan// characters are all female. The display of innocent femininity is essential to these roles. No fighting is required, but singing is of utmost importance to convey beauty as a faithful wife, loyal daughter or damsel in distress. //Tan// roles show no flirtatiouness but are rather moderate young women. They feature high-pitched falsetto voices. The tan characters can be divided into several different types:
 * 1) //Cheng Tan--//Damsel in distress, faithful wife or loyal daughter. These movements are identified by their inherent grace and beauty.
 * 2) //Hua Tan//--Bold, courageous woman. Acting is the most imporant aspect. Very stylized costumes are featured with this character. Acrobatics can be incorporated into this role as well.
 * 3) //kuei men tan//--Young unmarried virgin. Singing required. Elegant body movements.
 * 4) //Ts'ai tan//--wicked woman. Usually depicted as the jealous maidservant or evil witch. Can be comical in some plays.
 * 5) //Lao tan//--Dignified, sad old woman. Depicted with arched back and cane.



//Ching// actors are the bold, braggart soldiers, clever thieves, supernatural beings and cunning wizards in Beijing Opera. Besides a strong voice, their movements must display strength and power; their body is a symbol of granduer and authority. This character's stage presence is fascinating and is supposed to overwhelm the audience with his magnificence. //Ching// characters are divided into three different types:
 * 1) //Cheng ching//--Good characters. Masterful singing required for this role.
 * 2) //Fu ching//--Evil character. Body movement and loud speech emphasized. Eyes movements are also very important to express anger and monster-like qualities.
 * 3) //Wu ching//--Character centered around acrobatics and gymnastics.



//Ch'ou// actors are the comic clown characters in classical Chinese theatre. They are extremely reliant on elaborate body movements such as acrobatics and their ability to improvise. They speak in Chinese vernacular, and they are the most creatively expressive characters onstage. They do not always represent stupidity and slapstick humor, but can sometimes be the central characters in tragedies. Ch'ou characters are identified by their signature white patch on their faces. These characters are divided into two different groups:
 * 1) //Wen ch'ou//--These types are usually seen as jailers, servants or woodcutters.
 * 2) //Wu ch'ou//--Shown with weapons. These variations usually play the role of acrobatic footsoldiers or horse riders.



__THE TECHNIQUE OF ACTING IN BEJING OPERA__

Beijing Opera, like other Asian theatrical styles such as kathakali and kabuki, rely heavily on body gestures to convey meaning and emotion. Although singing is the more important aspect to Beijing Opera (hence, the name "opera"), physicality and movement are just as vital to the show. All movements have their own symbolism and conventional meanings to them. The movements are different for every body part. //Hsiu,// or sleeve movements are most important with tan characters. These movements highlight the elegance of the costumes, and produce a beautficul aesthetic effect when seen onstage. Hsiu movements are to demostrate grace and beauty in Chinese drama. Different gestures are posed with these flowing costumes, such as upon entrance, while sitting, standing up and exiting the stage. Although mainly seen with tan actors, hsiu movements can be seen with the ching, sheng and ch'ou characters as well but with added emotion that is according to their character (rage, brave, comic). //Shou//, or hand movements, are precise adjustments with the fingers to symbolize different feelings. There are many of these for each character, though just a few are listed here. For example, the movement for embarassment in Chinese Opera is called //chang shou// and is performed by turning the palms up and folding over the thumb. Also, //tu chih// is an angry, hateful gesture that is performed by pointing at another character's face, then the waist, then back to the face again. Foot movements, or //chiao,// are different for every character as well. For tan actors, //t'ao pu// indictates grace and poise, but for a more manly walk, //hsiao sheng// is used. Likewise, the //Ti'ui// gestures (leg movements) display the different postures of the various actors but also emphasizes that the body must be relaxed but in control the entire time while onstage. Finally, the hand movements (//ke po)// are performed usually in conjuction with the hands but there are many that are performed alone. For example, the //pao ke po// gesture indicates being cold onstage. Also, the //ch'ui ke po// indicates standing with hanging arms, played usually by supernatural characters such as ghosts.

__THE WU HANG ACROBATS__

Besides artful gestures to convey emotion, Beijing Opera is a place of entertainment, which reaches its climax with the spectacle of the //wu hang// acrobats. Since they do not speak, these actors are not really actors at all but are simply a means to provide the audience with more fun. They essentially are just an interlude, but a very talented interlude. Cartwheels, backflips and dives across the stage bring a whirl of excitement to the theatre when they come on. It is a unique and slightly strange addition that the Westerner would probably not understand at first. The acrobats have nothing to do with the show but confide in the Chinese idea that the theatre is a place of general entertainment.



BIBLIOGRAPHY:
 * 1) Zung, Cecilia S. L. __Secrets of the Chinese Drama__. London: George G. Harrap & Co., Ltd., 1937.
 * 2) Scott, A. C. __The Classical Theatre of China__. New York: Macmillan Company, 1957.
 * 3) Tao-Ching, Hsu. __The Chinese Conception of the Theatre__. Seattle: University of Washington Press, 1985.
 * 4) Wikipedia.org: []

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