China traditional opera knowledge

China's five major dramas are Beijing Opera, Yue Opera, Huangmei Opera, Pingju Opera and Henan Opera.

Interpretation of righteousness

Traditional Chinese opera is a traditional form of drama in China. It is a combination of literature, music, dance, fine arts, martial arts, acrobatics and various performing arts. Its origin has a long history. As early as the primitive society, song and dance sprouted. In the long development process, after more than 800 years of continuous enrichment, renewal and development, a relatively complete opera art system has gradually formed. Although its origin comes from three different art forms: folk song and dance, rap and burlesque, the biggest feature that distinguishes a drama is that it comes from different vocal systems. These musical vocals are based on the language, folk songs and folk music in the region where they are produced, and are produced by absorbing music from other regions. Most of the characters in various dramas are filled by characters with different faces, such as life, Dan, Jing, final and ugly. The focus of the performance is to use routine movements extracted from life and virtual space processing. Paying attention to the art of singing, reading, doing, playing, acting and dancing, with high technical content, constitutes a complete traditional Chinese opera art system different from other operas.

Among them, Peking Opera is the quintessence of our country.

According to incomplete statistics, there are about 360 kinds of traditional operas and tens of thousands of traditional plays in ethnic minority areas in China. After the founding of People's Republic of China (PRC), many traditional plays have been adapted, and new historical plays and modern plays that express the theme of modern life have been warmly welcomed by the audience. The more popular and famous operas are: Beijing Opera, Kunqu Opera, Yue Opera, Henan Opera, xiang opera Opera, Guangdong Opera, Qin Opera, Sichuan Opera, Pingju Opera, Shanxi Opera, Han Opera, Chaozhou Opera, Fujian Opera, Qi Opera, Hebei Bangzi Opera, Anqing Huangmei Opera and Hunan Opera. There are more than 50 operas, especially Peking Opera, which are the most popular and spread all over the country.

China's ancient drama is called "drama" because it is mainly composed of "drama" and "qu". China's operas mainly include Southern Opera in Song and Yuan Dynasties, Zaju in Yuan and Ming Dynasties, legends and legends in Ming and Qing Dynasties, and traditional repertoires of modern Peking Opera and other local operas. Is the floorboard of China national drama culture.

Three Artistic Features of China Opera

Comprehensive, virtual, programmed-

(1) Comprehensive China Opera is a national art with strong comprehensiveness ... This comprehensiveness is not only reflected in its mastery and originality of various art categories (such as dance and acrobatics), but also in its exquisite and profound performing arts. Various artistic factors are closely combined with the performing arts, and all the functions of opera are realized through the performance of actors. Among them, the organic composition of singing, reciting, doing and hitting the actors is the most concentrated and prominent embodiment of the comprehensiveness of China traditional operas. Singing refers to singing, emphasizing "clear pronunciation and mellow voice"; Reading aloud, that is, reading aloud, is a strict reciting skill. The so-called "one thousand pounds of oral part sings four Liang"; Doing refers to doing work, which is the character and expression; Beating refers to the martial arts action in performance, which is a combination of dance martial arts skills based on China traditional martial arts. These four expressions are sometimes interrelated and sometimes cross each other. Their composition depends on the needs of the plot, but they are all unified into a comprehensive whole, which embodies the beauty of harmony and is full of musical spirit (sense of rhythm). China traditional opera is a form of drama with formal beauty, which is centered on comprehensive performances of singing, reading, doing and playing.

(2) Fictitiousness Fictitiousness is the basic way for drama to reflect life. It refers to an actor's performance, which compares the real environment or objects in a deformed way to express life. The virtuality of China's traditional operas is first manifested in the flexibility in dealing with the time and space of the stage. The so-called "three or five people walk the world, six or seven people have millions of soldiers", "a thousand years' career is instantaneous, and the abbot's land is Wan Li" and "a few years' blink of an eye makes an inch of incense last forever", which breaks through the limitations of the "three unifications" and "the fourth wall" of western dramas. Secondly, in a specific stage atmosphere scheduling and actors' simulation of some life actions, such as windy and rainy, riding gait, threading a needle and so on, more concentrated and more vividly embodies the virtual characteristics of traditional Chinese opera. Opera mask is also a virtual way. The virtuality of China's traditional operas is not only caused by the limitations of the original stage and backward dance techniques, but also the product of the accumulation of national traditional aesthetic thoughts that pursue likeness and vividness. This is a beautiful creation. It has greatly liberated the creativity of screenwriters and stage artists and the artistic imagination of the audience, thus greatly improving the aesthetic value of China traditional operas.

(3) Procedural procedure is the manifestation of drama reflecting life. It refers to the standardization, dance performance and reuse of life movements. Programs come directly or indirectly from life, but they are formed by refining, summarizing and beautifying life according to certain norms. This embodies the painstaking efforts of artists of all ages, and also becomes the starting point for a new generation of actors to re-create, so the performing arts of traditional Chinese opera can be passed down from generation to generation. There are fixed formats for closing the door, pushing the window, getting on the horse, getting on the boat and going upstairs. In the traditional opera performance in China. In addition to performing programs, drama has certain programs in script form, role, music singing, makeup and clothing. Excellent artists can break through some limitations of the program and create their own personalized normative art. The program is a model of beauty.

The Origin and Formation of China Traditional Opera

origin

China opera has a long history, which originated from songs and dances imitating labor.

(A) Pre-Qin-the embryonic stage of China traditional opera. The "Ode" in The Book of Songs and the "Nine Songs" in The Songs of Chu are the lyrics of singing and dancing when offering sacrifices to the gods. From the Spring and Autumn Period and the Warring States Period to the Han Dynasty, recreational songs and dances gradually evolved in the song and dance of offering sacrifices to the gods. From the Han and Wei Dynasties to the mid-Tang Dynasty, there appeared "Jiao Di" (that is, a hundred plays), in which "joining the army" performed in a question-and-answer way and "dancers" performing short stories of life were all budding plays.

(2) The Tang Dynasty (middle and late period)-the formation period of traditional Chinese opera. After the mid-Tang Dynasty, China's drama advanced by leaps and bounds, and the art of drama gradually took shape.

(3) Song and Jin Dynasties-the development period of China traditional opera. "Zaju" in Song Dynasty, "Courtyard Style" in Jin Dynasty and "Zhu Gong Tune" in rap form all laid the foundation of Zaju in Yuan Dynasty in music, structure and content.

(D) Yuan Dynasty-the mature period of China traditional opera. In the Yuan Dynasty, "Zaju" developed greatly on the original basis and became a new kind of drama. It has the basic characteristics of drama, which indicates that China's drama has entered a mature stage.

(5) Ming and Qing Dynasties-the prosperous period of China traditional opera. In the Ming Dynasty, legends developed. The legend of the Ming Dynasty was formerly the Southern Opera in the Song and Yuan Dynasties (Southern Opera is the abbreviation of Southern Opera, which is a new form of drama developed on the basis of the Zaju in the Song Dynasty combined with the tunes of the southern region). Wenzhou is its birthplace. South Opera is different from North Zaju in system: it is not limited by 60% discount or one person singing to the end. It has an opening story, mostly a happy ending, and its style is mostly sentimental. Unlike the northern zaju, it is more free in form and more convenient to express life. Unfortunately, the books of the early Southern Opera are rarely preserved. It was not until the end of Yuan Dynasty and the beginning of Ming Dynasty that Southern Opera began to flourish. After the processing and improvement of the literati, this short play which is not rigorous enough has finally become a quite complete long play. For example, "Pipa Story" is a transition from southern opera to legend. The theme of this work comes from folklore, which shows a story completely and has certain drama. It was once known as "the ancestor of reviving southern opera". In the middle of Ming Dynasty, a large number of legendary writers and scripts emerged, among which Tang Xianzu was the most successful. He wrote many legendary plays in his life, and Peony Pavilion is his masterpiece. Through the story of Du Liniang and Liu Mengmei's life and death parting, the work praises the rebellious spirit of opposing feudal ethics, pursuing happy love and demanding individual liberation. The author endowed love with the power to bring it back to life, overcame the shackles of feudal ethics and won the final victory. This had far-reaching social significance in the society firmly ruled by feudal ethics at that time. This play has been loved by readers and audiences for 300 years. To this day, the boudoir, The Scared Dream and other fragments are still active on the stage of traditional Chinese opera performance, radiating its artistic brilliance.

Yuan zaju

Yuan Zaju is a comprehensive stage art that inherits and develops the literary achievements of the previous generation on the fertile soil of folk operas, and is improved and created through the joint efforts of teachers' workshops, troupes, musicians and "book clubs". Metaphysically, Yuan Zaju uses four sets of northern songs to arrange stories, and the disjointed parts are combined with wedges to form the usual format of four folds and one wedge (Wang Shifu's The West Chamber is a unique novel in Yuan Zaju, and five books have written 2 1 fold). Each fold is composed of several tunes of the same palace tune, and a "wedge" is added when necessary. At the end, two, four and eight lines are used to summarize the content of the whole play, which is called "getting to the point". Each fold includes three parts: Qu Ci, Bai Hua () and (). The lyrics are written according to the music cards that the tutor needs, also called Wen Qu, lyrics or lyric poems. Its function is to tell stories and portray characters. All the lyrics rhyme. Vernacular writing is an artistic means to express the plot or explain the relationship between characters in the form of words, which can be divided into dialogue (dialogue between characters), monologue (words that characters express their personal feelings and wishes alone), narration (words that characters recite to the audience from other players on the stage) and vernacular writing (words inserted in lyrics). The subject is action, expression, etc. A play is usually sung by one person to the end or the end, and the other feet are all white. The lead singer at the end of the program is called "Final Book", and the lead singer at the end of the program is called "Final Book".

Role:

Ending: male role. The hero is the hero in Yuan Zaju.

Dan: Play a female role. Zheng Dan (the heroine in the play), Xiao Dan, Chadan, Zheng Dan, Hua Dan, Boudoir Dan, Wu Dan, Lao Dan and Cai Dan.

Jing: Commonly known as "painted face" and "painted skin", they often play male roles with special personality or appearance. For example, Yuan, a civil servant (government official), falls into this category.

Ugliness: Play comedy roles, also known as "three sides" or "small faces", and play humorous roles, which can be divided into Wen Chou and Wu Ugly.

Foreign: There are three kinds of zaju in the Yuan Dynasty, namely, the end of foreign drama, foreign drama and foreign classics. , which are the secondary roles at the end, Dan and Jing. Inside job-the end of the outside.

Miscellaneous: Also known as "miscellaneous". Play the role name of the old woman. Such as: Cai.

author

In just a few decades, Yuan Zaju writers have created at least 500 or 600 plays, and more than 150 plays are still preserved today. These works comprehensively and profoundly reflect the social life of the Yuan Dynasty, and many of them have become valuable cultural heritage of our country. For example, Guan Hanqing's "Dou Eyuan" describes the tragic experience of the kind and naive child bride Dou E, reflects the cruel exploitation of usurers, extortion by local ruffians and the perverting of the law by corrupt officials, profoundly exposes the dark reality of the Yuan Dynasty society, and praises the strong will and indomitable resistance spirit of the oppressed. With the help of historical themes, Ma Zhiyuan's Autumn in the Palace of Han Dynasty describes Wang Zhaojun's loyalty to the country, Mao Yanshou's betrayal of the country and the corruption and incompetence of his officials, mercilessly exposes the national oppression of the Yuan Dynasty and satirizes the rulers at that time. Wang Shifu's The West Chamber describes the story of young men and women fighting for the autonomy of marriage in feudal society. From stunning, couplets to refusing to get married, Cui Yingying's desire for love has been fully demonstrated. However, she was born in a famous family and was influenced and bound by feudal ethics. As a result, she had twists and turns such as "making trouble with Jane" and "relying on Jane". She finally embarked on the road of rebellion in such scenes as Listening to Qin Qu, The Book of Rites and The Pavilion, which added a strong comic color to her works. The main line of the whole drama is the contradiction between fighting for the autonomy of marriage and obeying the "parents' orders", and the misunderstanding and conflict between Cui Yingying, Zhang Xun and the matchmaker is the secondary line, which is interwoven rhythmically, with moderate relaxation, dynamic and static combination, mixed happiness and sorrow, and mixed gathering and dispersion. His theme of "May all beings in the world become well-being" and vivid artistic image have strong artistic charm, which can give people a strong infection and is deeply loved by the masses.

Four masters of Yuan Qu: Guan Hanqing-Dou Eyuan; Zheng Guangzu-Ghost Story; Bai Pu-Wu Tongyu; Ma Zhiyuan-"Autumn in Han Palace";

One legend is that ...

According to legend, in the early Qing Dynasty, there were four major operas in Beijing, namely Nankun, Yi Bei, Liu Dong and Xibang. According to the records in the eighth year of Jiaqing: "In the Ming Dynasty, there was Kunqu opera, and the sound was heard, while many Yiyang, Bangzi, Qin and Liu in the north and south were homophonic, singing and dancing, and many musicians were unmoved by Beijing." It also illustrates the historical grand occasion at that time. Among them, the so-called Nankun is the Kunshan dialect popular in Kunshan area in the south of the Yangtze River. The combination of northern Yi Guide Opera and northern Quju Opera originated from Yiyang Opera in Yiyang, Jiangxi Province, which was the high-pitched opera spread to the north, which was the Peking Opera prevailing in Beijing at that time. Liu Dong is a popular Liu Qiang in Shandong. Xibang is naturally a Bangzi opera, which is widely circulated in northwest China, that is, Shaanxi opera. It shows the grand occasion of artists from all directions gathering in Beijing.

At present, the above four major tunes have gone far beyond their original scope, and some of them have spread all over the country. Yiyang Opera (that is, high-pitched opera) is widely spread in Anhui, Zhejiang, Jiangsu, Hunan, Hubei, Fujian, Guangdong, Yunnan, Guizhou, Sichuan, Hebei and other places. Therefore, people concerned think this statement is unscientific, but this historical statement still objectively reflects historical facts. Judging from the current distribution of operas, Kunqu opera still has a considerable audience base in Shanghai, Nanjing, Zhejiang, Hunan and other places. Yiyang Opera not only took root and sprouted in the north, but also played an important role in the formation of Peking Opera and some northern operas from the Qianlong period, especially in many northern language areas. Although Liu Zi Opera (including Liuqin Opera influenced by it) is popular in northern Henan, northern Jiangsu, southern Hebei and northern Anhui, its important activities are Qufu, Tai 'an and Linyi in Shandong. Although Shaanxi Opera (Shaanxi Bangzi) and the Bangzi from Shanxi, Henan and Hebei are popular in the north so far, the Shaanxi Opera we saw in Gansu, Ningxia and Shaanxi has deeper roots, is older and has a wider audience, so it is called "Nankun, Yi Bei, Liu Dong and Xibang".

[Edit this paragraph] Types of National Opera

Color Drama Tibetan Chaozhou Opera Chu Opera Fengyang Opera Guangdong Han Opera Gui Opera Huangmei Opera Huizhou Opera Shandong Bangzi Shao Opera Sichuan Opera Yong Opera Yunnan Lantern Zhuang Opera Yue Opera Yang Opera Xinjiang Opera xiang opera Xiju Wu Opera Wan Wan Qiang Tianjin Civilization Opera Su Ju Opera Qiongju Qinghai Pingxian Opera Qi Opera Pu Opera Puxian Opera Pingju. Ou Opera Fujian Opera Long Opera Longjiang Opera Liaonan Opera Kunqu Opera Liyuan Opera Beijing Opera Jin Opera Huanglong Opera Huai Opera Shanghai Opera Hebei Bangzi Gan Opera Errentai Sichuan Opera Northern Kunqu Opera Xincheng Opera.

[Edit this paragraph] Tune the opera

Beijing Opera, Henan Opera, Pingju Opera, Yue Opera, Hebei Bangzi, Hebei Luantan, Shijiazhuang Sixian, Shenze Jiangxi, Anguo Laodiao, Baoding Laodiao, Baoding Shangsi Tune, Baoding Shadow Play, Baoding Xianyu Tune, Baoding Banbu Tune, Ten Idle Lotus Falls, Guyi Nuo Opera, Haixing Nanluo, Northern Kunqu Opera and Dingzhou Yangko. Novel Tune, Zhuozhou Hengqi Tune, Wu 'an PingDiao, Zhangjiakou East Road Errentai, Haha Tune, Baoding Poetry and Immortal Tune, Xingtai Killer Tune, Xingtai Diaojiao Drama, Xingtai HuaiDiao, Xingtai Western Tune, Suning Martial Arts Drama, Huai 'an Soft Yangko, Feixiang Luoxi, Siguxian, Huang Er, Errentai, Shangdang Huang Er, Shangdang Bangzi and Jinxi. Yunnan Zhuang Opera, Yunnan Lantern Opera, Dan Opera, Puppet Opera, Baling Opera, Wuyin Opera, Wennan Ci, Zhonglu Bangzi, Inner Mongolia Yangko, Fengtai Opera, Yongji Daoqing Opera, Baiju Opera, Bai Zixi, Beikun Opera, Beijing Opera, Beilu Bangzi, Pihuang, Shadow Play, Longjiang Opera and Longyan Zaju. Sha Opera, Xiang Opera, Ji Opera, Lu Opera, Lu Opera, Blowing Opera, Hu Opera, Su Ju Opera, Yong Opera, Qi Opera, Xi Opera, Ci Ming Opera, Gong Opera, Lingqiu Luo Qiang Opera, Henan Yuediao Opera, Henan Daoqing Opera, Henan Quju Opera, Beijing Opera, etc. Liu Qiang, Liuqin Opera, Fujian Opera, Minxi Han Opera, Nanxi Opera, Yao Ju, Linxi Opera, Haha Opera, Huqin Opera, Jing Hexi, Hunyuan Luoluo, Guizhou Lantern Opera, Gaoqiang Opera, Gao Shanju, Gaobazi, Gaojia Opera, Gaoqiang Bangzi, Tang Opera, Guangxi Opera, Shaanxi Opera, Shanxi Opera and Yong Opera. Tui Opera, Liyuan Opera, Bangzi Opera, Zhangqiu Bangzi, Bangzi Miscellaneous Opera, xiang opera, Xiangxi, Dai Opera, Qiong Opera, Sixian Opera, Humorous Opera, South Anhui Flower Drum Opera, Hunan Flower Drum Opera, Pu Opera, Zhou Pu Bangzi, Lei Ju, Tin Opera, Yunnan Opera, Mongolia Opera.

Dramatic nouns

Jiugong, Rupo, Boer, Thirteen Tunes, Erhualian, Beijing Opera Blues, Character Modeling, Daqu, Da Bian, Xiao Mo, Xiao Dan, Xiaoxi, Xiao Sheng, Xiaohualian, Trilogy, Sanhualian, San Xiao, Talented Person, Radio Drama, Introduction, Leading Drama, Wenchang, Art Troupe and Civilized Drama. Hand-eye posture, plum blossom award in Chinese drama, horse-beating, hunchback, lines, catwalk, normal model, Zheng Dan, Juzheng, Zheng Jing, four Huizhou classes, four major vocals, four kung fu and five methods, Dan, Dan, Mo, Naise, Naise performance, going out, going out, living, adding officials, walking on, setting. Qupo, Qupai, Qupu, Lao Dan, Laosheng, Diaomao, Legend, Zadang, Guoqu, Quji, Hesheng, Xu Hu, Baixi, Youling, Building Search, Finale, Local Drama, Problem Drama, Self-reporting, Huabei, Hua Dan, Bazi, Bazi Gong, Walking Side, Walking Rope, Playing. United Taiwan drama, improvisation, wudan, Wu Chou, Wu Chang, Jason Wu, Wu Sheng, Wu Erhua, Rong, Ban Ban, joining the army, joining the army drama, Dingtian poem, Dingtian poem, scenery, bi, brick tower, Faqu, Tsing Yi, official costume, drama. String, pantomime, appearance, starting from hegemony, circus, mask, axis, guest appearance, grass troupe, boudoir, live drama, sound effect, always first, theater, drama, script, tragedy, tragicomedy, architecture, rehearsal, narration, chime, door, guest white, bowl head, people. Singing opera, basic skills, street drama, badminton, helmet head, inspection field, facial makeup, colorful Dan, oratorio, chrysanthemum department, amateur, Guo head, elephant man, teaching workshop, virtual action, copper hammer painting face, fish dragon male face, elegant music, Nuo, props, comedy, blackhead, Nuo. Rolling tune, jumping pill, performance book, Qilu-Ren, acid, earning, picking all over, Gong Jing, wedge, children's drama, subtext, stage, stage lighting, stage art, stage guidance, stage art, title, title rectification, leaning, riding, squatting, pleating, embroidered robe, performing, cracking melon.

Henan Henan opera

On the origin of henan opera. Henan Opera came into being in the late Ming and early Qing Dynasties. At first, it was mainly oratorio, which was deeply loved by the people, so it developed very rapidly. The origin of Henan opera has always been difficult to verify, and there are different opinions. On the one hand, after Shaanxi Opera and Zhou Pu Bangzi were introduced into Henan in the late Ming Dynasty, they were combined with local folk songs and minor tunes. On the other hand, they are directly developed from the chords of Beiqu; On the other hand, it was developed on the basis of Henan folk singing art, especially on the basis of popular songs prevailing in the Central Plains in the middle and late Ming Dynasty, and absorbed artistic achievements such as "chord tune".

During the Qianlong period of Qing Dynasty (1736- 1795), Bangzi Opera was popular in Henan Province. According to the content recorded in the inscription at that time, the Forbidden City in Ming Dynasty was "a place where all classes of operas prayed and feasted in those days, which has been forgotten by distant years and I don't know when it was established. During the Daoguang period (182 1- 1850), the river workers burst, the temple collapsed and there were no tiles left. It can be seen that Bangzi Opera existed long before Daoguang. These narratives are consistent with the legends among artists. According to some old artists' memories, when they were studying at around 19 12, they heard the master talk about ten places in Henan, namely, Xiangfu (now Kaifeng), Qixian, Chenliu (now Kaifeng), Weishi, Zhongmou, Tongxu, Yifeng, Fengqiu and Wu Yang. During its spread, Henan Bangzi has formed different styles, such as Xiangfu tune (Kaifeng area), Eastern Henan tune (Shangqiu area), Western Henan tune (Yang Yang area) and Shahe tune (Luohe area).

According to the legend of artists, the earliest educators of Henan Opera were Jiangmen and Xumen. Jiangmen has classes in Zhuxian Town, south of Kaifeng, and Xumen in Ji Qinghe, east of Kaifeng. Later, in Kaifeng area, an auspicious tone was formed; Spread to Shangqiu area, forming the eastern Henan tune; A branch that flowed into Luoyang developed into the western Henan tune; A tributary of the Luohe River is called Sha Hetiao.

After the Revolution of 1911, Henan Bangzi entered more and more cities to perform. Famous tea houses in Kaifeng, such as Zhixiang Tea House, Puqing Tea House, Chenghuai Tea House, Qing Tea House, Donghuo Temple Tea House, Le Tong Tea House, etc., all rushed to invite Kanako Class Club, and at that time Yicheng, Tianxing and Gongxing classes became active. Since then, tea houses and theaters have appeared in Zhengzhou, Luoyang, Xinyang, Shangqiu and other cities to perform Henan Bangzi. In rural areas, every meeting with the gods will be performed in some areas, most of which belong to Henan Bangzi.

From the end of 1920s to 1930s, the development of Henan Bangzi entered a new stage. During this period, four Henan Bangzi theaters, Yong 'an, Yongle, Yongmin and Le Tong, were successively established in Kaifeng Suoguoji. Many famous artists, such as, Ma Shuangzhi, Si, Li Ruiyun, Chang Xiangyu and Peng Haibao, gathered here. At the beginning of 1935, Yusheng Drama Club headed by Fan was established, and Yongle Stage was changed to Yusheng Theatre. Chen Suzhen's Seven Sages Troupe and Zhao Yiting's Cao Xian Troupe both joined the club. Yusheng Drama Club got rid of some unreasonable systems of the old troupe, reformed the performance and stage art, and performed such plays as Gale, Hate in the Clouds and Bloody. Created by Fan. After the outbreak of War of Resistance against Japanese Aggression, in 1938, the society was changed into the Lion Roar Troupe with the meaning of "awakening the lion's anger".

The classification of some costumes in traditional Chinese opera introduces the royal hat-traditional Chinese opera helmet hat. Also known as "Wang hat" or "Tang hat". A hat for the emperor in the play. The hat is slightly round, low in the front and high in the back, with a golden base, golden dragons cast on it, decorated with yellow pompoms, a pair of wings facing the sky, and large yellow spikes hanging from the left and right.

A gauze hat worn by officials in feudal society.

-China traditional opera helmet. The hat is slightly round in shape, low in front and high in back, and pure black. Those with square wings on both sides are worn by loyal ministers played by Sheng Jiao. Such as Lu Su in Hero; People with sharp wings are dressed by traitors who play Jing Jiao. For example, Gu Du in Si Zi; People with round wings are worn by civil servants played by clowns.

Python

-China traditional opera costumes. Round neck, big waist, big sleeves, long enough, covered with tattoos: there is Yunlong on the top and seawater on the bottom, which is the public service of emperors and generals in traditional opera. There are male and female pythons. Female pythons are short and embroidered with dragons and phoenixes, which are worn by empresses and aristocratic women.

Generally speaking, emperors wear yellow embroidered robes; Wearing by courtiers, red pythons are precious; Take black pythons and blue pythons with rough personality; Young and elegant people wear white pythons and pink pythons; Older people wear bronze or incense pythons. No matter whether you are wearing a male python or a female python, you should wear a jade belt around your waist.

Official clothes

-China traditional opera costumes. In China's traditional opera, the official dress is like a python, with a big round collar and no tattoos. There are only square patches on the chest and back of the heart, embroidered with birds such as cranes, and the colors are purple, red, blue and black. According to the rank size, the prime minister and the country's old people are waiting for purple, the governor and the official road are waiting for red, the magistrate of a county is waiting for blue, and Cheng Yi men's officials are wearing black, also known as plain clothes. Female official uniforms are slightly shorter than male official uniforms, and the colors are red and Chou-heung. The red dress is worn by Mrs. Yipin, which is also a traditional wedding dress.

Arrow coat

-China traditional opera costumes. Round neck, big chest, horseshoe sleeves or open sleeves, waist-length, and foot length. Originally the official costume of the Qing Dynasty, it was used on the stage of national drama, and all characters in the green forest, from emperors and senior generals to ordinary warriors, could wear it. Divide the dragon arrow (embroidered with dragon pattern on the top and seawater on the bottom), the flower arrow (embroidered with flowers on the top) and the plain arrow. Dragon arrows are worn by emperors and senior generals; Flower arrows are generally worn by military commanders; Plain arrows come in black and blue, and are worn by the old army to show tolerance.

rely on

-China traditional opera costumes. Also known as a. The costume of a military commander in a traditional drama. Round neck, with tight sleeves, long and full, divided into two pieces, with scales or T-stripes embroidered on the upper and lower shoulders, slightly wide belly, hard inside and protruding outside, embroidered with tiger's head or dragon's pattern, with a tiger's head-shaped back shell on the back, on which four pennants can be inserted, and two leg pads for playing cards. There are two kinds of soft and hard supports, and the soft support does not need to rely on the flag. Distinguish colors according to characters' personality, identity, age and facial makeup. There are dozens of colorful ribbons on the waist and feet of the woman's backrest, and a heart protector is added to her chest.

Peacock feather worn behind an official's hat (as a symbol of rank in the Qing Dynasty)

-The ornament on the helmet worn by the characters in traditional Chinese opera, namely the pheasant tail. Pairs inserted on both sides of the helmet head can increase the aesthetic feeling, and actors can perform various beautiful dance movements to express the thoughts and feelings of the characters. Used in traditional operas, such as Wang Fan, Fan Jiang, Mountain King, Demon, etc. Some young Wu Ying generals, such as Lu Bu and Zhou Yu, also wear them.

A headdress worn by an opera singer

—— The general name of all kinds of crowns and hats worn by characters in traditional operas. Generally divided into four categories: crown, helmet, towel and hat. Crowned as the top hat of emperors and nobles; Helmet, worn by Wu Zhi personnel; Towels, mostly soft, belong to casual clothes; Hats are very complicated, ranging from imperial hats to straw hats. There are many ornaments worn with the helmet head, such as Xu's wings, feathers, fox's tail and so on. Helmets are used according to identity, gender, age, etc.

Cotton high boots

-High-top or long-top shoes commonly used in traditional operas. There are many kinds, such as Gao Fang, Fang Chao, fast boots and tiger boots. On the high side are thick soled boots, high waist and square head. The bottom is two or three inches thick, with black satin and white background. To make a living by this, the net role is to wear python clothes, official clothes and lying clothes, and to dress solemnly and majestically. It is slightly thinner at the bottom and is generally worn by ugly officials and literati. Fast boots are half-high in waist and thin in bottom. Tiger head boots are decorated with tiger head patterns at the front end, which are mostly worn by military school students and easy to open.

Guilty clothes and skirts

-A traditional costume of China opera. Also known as sin suit. Stand-up collar, double-breasted, plain sleeves, red and cloth, special clothes for criminals in traditional Chinese opera.