发布时间 : 星期日 文章京剧中英文介绍 - 图文更新完毕开始阅读
Beijing Opera combines music, acrobatic dance, and spectacular costumes to tell stories from Chinese history and folklore. Using abstract, symbolic gestures rich in dramatic meaning, actors represent personages from the heroic, divine, and animal worlds, often in martial exploits. The traditional features of the masklike makeup and elaborate costumes immediately identify the characters to a knowing audience. Four Famous Dan Actors 四大名旦 Stage Props in Peking Opera 京剧道具 Types of Facial Make-up in Beijing Opera 京剧脸谱 Roles in Beijing Opera 京剧的角色 Xipi and Erhuang 西皮和二簧 Wenchang and Wuchang 文场和武场 Piao You and Xia Hai 票友和下海 Longtao and Figurant \龙套”和 “跑龙套” Qiba “起霸” Liangxiang “亮相” 京剧脸谱（Beijing opera types of facial makeup in operas） 简介(Introduction)： Beijing opera types of facial makeup in operas, is a special feature of a national cosmetic. As each historical figure or a certain type of person has an approximate spectral type, like sing, play music to the music, so called “types of facial makeup in operas”. On the types of facial makeup in operas sources, the general view is from mask. Beijing opera types of facial makeup in operas are based on certain personality, temperament or some special types of figures for the use of certain colors. Red has expressed his Warriors of strong types of facial makeup in operas such as Guan Yu, concubines Victoria, regular book; Black said the types of facial makeup in operas ming criticized people, integrity, bravery and even reckless, such as Zheng and Zhang Fei, Li; Yellow types of facial makeup in operas that vicious brutality, such as Yu Chengdu, and Dian Wei. Blue or green types of facial makeup in operas that some of the figures represented irritable, such as Dou Ambassador, Ma Wu; General treacherous court official said the types of facial makeup in operas white, bad guys, such as Cao Cao, Zhao higher. Beijing opera types of facial makeup in operas of color painting methods, basically divided into three categories : rub face, face towel, different faces. Types of facial makeup in operas initial role is exaggerated her role with striking places and face the veins, using exaggerated by the performance of dramatis personae of personality, psychological and physiological characteristics, and using this to the entire drama circumstances, but Later types of facial makeup in operas by Kan to complex, from rough to the small, Youbiaojili, from shallow to deep, itself becoming a nation of characteristics, to the facial expression means for the pictorial arts. 中文对照:)~ 京剧脸谱，是具有民族特色的一种特殊的化妆方法。由于每个历史人物或某一种类型的人物都有一种大概的谱式，就像唱歌、奏乐都要按照乐谱一样，所以称为“脸谱”。关于脸谱的来源，一般的说法是来自假面具。 京剧脸谱，是根据某种性格、性情或某种特殊类型的人物为采用某些色彩的。红色有脸谱表示忠勇士义烈，如关羽、姜维、常遇春；黑色的脸谱表示刚烈、正直、勇猛甚至鲁莽，如包拯、张飞、李逵等；黄色的脸谱表示凶狠残暴，如宇文成都、典韦。蓝色或绿色的脸谱表示一些粗豪暴躁的人物，如窦尔敦、马武等；白色的脸谱一般表示奸臣、坏人，如曹操、赵高等。 京剧脸谱的色画方法，基本上分为三类：揉脸、抹脸、勾脸。脸谱最初的作用，只是夸大剧中角色的五官部位和面部的纹理，用夸张的手法表现剧中人的性格、心理和生理上的特征，以此来为整个戏剧的情节服务，可是发展到后来，脸谱由简到繁、由粗到细、由表及里、由浅到深，本身就逐渐成为一种具有民族特色的、以人的面部为表现手段的图案艺术了。
参考资料： 百度
京剧在塑造人物方面有其独特的造型语言。它把不同性别、性格、年龄、身份的人物划分为不同的行当，一般说来有\生、旦、净、丑\四大行当。由于京剧人物造型形象鲜明、风格多样，有强烈的剧场效果，常常更易于激起观众的欣赏兴趣。
生行
京剧中的
\生\，一般指剧中扮演男子的演员，其中又可细分为\老生\、\小生\和\武生\。\老生\，顾名思义就是中老年男子角色，在剧中多扮演正直刚毅的人物形象，例如京剧《伍子胥》中的伍子胥.他们演出时要戴挂在耳朵上的假胡须，在京剧的行话中也叫\髯口\，因此还专门有一套髯口上的表演功夫。胡须的颜色表示了人物的年龄。京剧《四郎探母》中的杨四郎年约三十岁，所戴胡须为黑色。京剧《秦香莲》中王延龄年约六十，所戴胡须为白色。老生在剧中一般注重演唱和细腻表演，唱腔上也最为丰富。台词用京剧中的韵白来表现，演唱用真声，风格刚劲、挺拔、质朴、醇厚，动作造型也以雍容、端方、庄重为基调。与老生相对应的是
\小生\，在京剧中指青少
年男子角色，他们在剧中的动作造型儒雅倜傥、秀逸飞动。在演唱上采用真假声结合的唱法，演唱风格华美和明亮。例如京剧《白蛇传》中的许仙.
\武生\是指扮演剧中年轻的男性武将，他们用高超的武打技术来展示剧中人物的武艺高强。不重演唱，注重武打动作的娴熟和技巧的难度。例如京剧《长坂坡》中的赵云.
Role of Sheng
The roles on the Chinese opera stage fall into four categories -- Sheng, Dan, Jing and Chou. These roles have the natural features of age and sex, as well as social status, and are
artificially exaggerated by makeup, costume and gestures.
Sheng, a male role, usually a leading one, dates back to Southern Drama of the Song and Yuan Dynasties (960-1368). This role appears in operas in all historical periods. According to the age and social status of the characters, Sheng falls into five sub-groups: Laosheng,
Xiaosheng, Wusheng, Hongsheng and Wawasheng (characters of children).
Laosheng is also known as Xusheng, meaning bearded men, because the actors wear artificial beards, and they are middle-aged or elderly men. Most are upright and resolute characters. They
sing in their natural voices, and their actions are serious ones.
Xiaosheng is a sub-category of Sheng
representing young male characters. They don't wear artificial beards. They always sing in their real voices, while in Kunqu and Pihuang operas the singing mixes natural and falsetto voices.
Wusheng stands for all of the male characters who appear in battle scenes. They are further
subdivided into Changkao Wuheng, Duanda Wusheng, Goulian Wusheng and Houxi Wusheng. They always wear helmets and thick-soled boots. The generals always carry long pikes. Wusheng roles call for sturdy and vigorous actions, with resounding declamations. The movements of the waist and legs are powerful, and a high level of martial arts skills is demanded in these roles. Duanda Wusheng roles use short-handled weapons, and their movements are light and swift.
旦行
京剧中把女性统称为\旦\，其中按照人物的年龄、性格又可细分为许多行当，饰演大家闺秀和有身份的妇女称为\正旦\，正旦在京剧中俗称\青衣\，这就是因为正旦所扮演的角色常穿青色的长衫而得名。京剧《窦娥冤》中的女主角窦娥就是典型的青衣角色。青衣的表演庄重娴静，秀雅柔婉，以唱功为主，一般说来，青衣的唱腔旋律优美，细腻婉转。旦行中的\花旦\，多扮演天真活泼或放荡泼辣的青衣妇女，在表演上注重做工和念白，例如《红娘》中的红娘.
\武旦\和\刀马旦\相当于生行中的武生，扮演的是擅长武艺的青壮年妇女，装扮和武生差不多，也扎靠服，她们多在剧中扮演
女侠、女将甚至女仙、女妖等。武旦和刀马旦的表演往往还伴随着热闹的锣鼓点，烘托场上的气氛。
\老旦\，指在剧中扮演老年妇女的角色行当。为突出老年人的特点，走路迈一种沉稳的横八字步，服装色调为色彩偏暗的秋香色、墨绿色，演唱用真声表现。 Role of Dan in Peking Opera
The roles on the Chinese opera stage fall into four categories: Sheng, Dan, Jing and Chou. These roles have the natural features of age and sex, as well as social status, and are
artificially exaggerated by makeup, costume and gestures.
Dan is the general term in Peking Opera for female roles. As early as in the Song Dynasty