The suitcase owned by Peking Opera and its use method are the accumulation of nearly a thousand years' experience of traditional opera performance in plastic arts, and its direct source is mainly the costume tradition of Kunqu Opera. In Yuan Zaju, there are some special "Zaju costumes" and some expressions about cross-dressing programs, such as "Pibing", "Plain Dress", "Daozhuang" and "Blue Dress". During the Wanli period of the Ming Dynasty, composer Wang Jide said, "When reading Yuanqu, we should list the names of the parts used in the first volume, and indicate their crowns, clothes and vessels. It is the most meticulous thing for a person to be crowned, dressed and hold a certain musical instrument. However, its so-called crown service and equipment name have changed beyond recognition. " It can be seen that from the Yuan Dynasty to the Ming Dynasty, many changes have taken place in traditional Chinese opera costumes. It was only in the Kunqu Opera in the late Ming Dynasty that it gradually stabilized. After the Qing Dynasty, the Qing government ordered Luo to change his costume, but it did not prohibit the troupe from using Ming Dynasty costumes. On this basis, artists continue to process and enrich them. The scale and level achieved since the mid-Qing Dynasty are reflected in the stage tips of Jianghu Costume recorded in Yangzhou Painting Fat Record (1795), Xiao Shao, the official drama of the Zhao Dynasty (18 13), and the manuscript "Clearing Banknotes" by the promotion department (654). Non-syllable catwalks can't be gained or lost according to their own wishes, and costumes can't be ruined. " Kunqu Opera basically belongs to the drama art of literati (in Ou Yangyuqian), and its meticulous stage art norms can not be separated from the meticulous guidance of intellectuals. Beijing Opera flourished after Kunqu Opera. After the improvement and gain of clothing, the luggage system still maintains its vitality. The impact of western realistic drama concepts in the 20th century had a great impact on the creation and performance of new drama. The traditional performance mode of suitcase system not only appears frequently in China, but also has the most China characteristics in international drama communication, and even causes foreign audiences to marvel at "those clothes with rich types, elegant styles and amazing effects" and "show a high degree of artistic culture". "Only time and tradition can create all this, which is the work of countless people. The establishment of luggage system is based on three principles: hypothesis, aesthetics and simplicity. Fundamentally speaking, clothing has a certain basis of life. For example, the flat crown originated from the crown in the pre-Qin period, the bachelor's towel is a kind of Tang towel, and the king's hat was made by folding the towel on the black gauze in the Ming Dynasty. Shamao, official dress, arrow dress and mandarin jacket were obviously extracted from the crown clothes of the same name in Ming and Qing Dynasties. However, after being transformed into costumes to varying degrees, life clothes no longer represent the dynasty in which they came into being. They are only used as performance costumes according to specific stage rules, giving the audience a hypothetical non-historical sense of reality in ancient times. The elastic distance between clothing and its life prototype depends on two pursuits: first, it is conducive to the singing and dancing performance of actors; Second, let the audience feel beautiful and easy to understand. This creates a sense of beauty. Clothing developed from the early "painting clothes" (Jin Dynasty history, jade symbol) to the later embroidered clothes, which became a special craft crystal that can withstand repeated appreciation by the audience. However, the best effect of its aesthetic feeling is closely combined with the performing arts. The deformation range of clothing is often intrinsically related to the improvement of singing and dancing, and Wu Shengzha's hard support is a typical example. In the era when Peking Opera was popular, the size of luggage exceeded that of any opera in the same period. The ostentation and extravagance of Kunqu Opera only existed in the performances of the family class of the scholar-officials in Ming and Qing Dynasties, the inner class of the salt merchants, the Funan of the Royal Theatre and the Shengping Department. As far as folk professional troupes are concerned, the suitcase of Kunqu opera is not as good as that of Beijing opera later. In the second year of Tongzhi (1863), there were 7 container managers on the roster of Sanqing class. By the 25th year of Guangxu (1899), there were as many container managers in Tongqing Class and Yucheng Class as 12 and 18 (see Qi Rushan Opera Troupe), and the scale can be imagined. However, after a long period of screening, fine processing, and gradually positioning in the theater box, compared with the vast costumes of the past dynasties, it is only a drop in the ocean. The economic conditions of the troupe and the fluidity of the performance determine that the suitcase system always coordinates the contradiction between its own finiteness and the infinity of the historical life to be expressed by the drama on the principle of simplicity. The way of coordination is usually to make a small amount of supplements while maintaining the basic rules, so the evolution of luggage is basically accumulation rather than mutation.

Wear it through.

The costume has not been simulated, but it is still to express the social content stipulated in the play. Artists often say that "it's better to wear it out than to wear it wrong", which shows their serious attitude towards the dress code. But its fault and good standard are not written in words, but embodied in the habitual operation of performance. From the comparative study of dress customs, plots and characters, we can see that there are three shortcomings and eight heavies in its basic rules.

The three points omitted are the specific, regional and seasonal differences of historical dynasties. In the theory of traditional Chinese painting, it has long been suggested: "It is more appropriate to distinguish between ancient and modern things in detail, and it is suitable for business rather than vulgarity. It refers to painting, which can test the times. " (Zhang Yanyuan's Notes on Famous Paintings of Past Dynasties) If we take this as a standard to measure the dressing of Peking Opera, only some folk operas such as Visiting Family are close to life customs, and almost all others are not qualified. For example, Huang Tianba in the story drama Comic Book in the Qing Dynasty, wearing an arrow suit and a mandarin jacket, is still a "verifiable era", while he wears a white master's helmet and a white python, which is contrary to the times, not to mention the stone wearing a gauze hat and embroidered robe on the same stage, which looks like an official of the Ming Dynasty. Fox tail is the most regional feature in clothing, but it is mainly used to represent ethnic minorities or unorthodox figures. During the Daoguang period, the drama box of the Tai family class of salt merchants was worth 200,000 to 300,000 yuan. It was "Four Seasons Delivered" and performed "Huansha Ji" and "Pipa Ji", in which Cai, the top scholar, rewarded lotus flowers and "filled the field with yarn" (Zhang Zai Man Lu by Jin Anqing). During the Tongzhi period, at the beginning of Peking Opera's southward advance, Shangxi Garden sent people to Guangdong to buy costumes, "there are silver mice to rely on winter" (Min Ai's "A Brief History of North and South Pear Gardens"). The seasonal characteristics of this costume, whether out of loyalty to the plot or care for the actors, do not constitute the dress tradition of Beijing opera.

While omitting the above three points, there are performance requirements for the gender, age, social status, life situation and personality temperament of the characters, that is, there are differences between men and women, young and old, civil and military, noble and low, rich and poor, Chinese and foreign, scenes and praise. These eight points are the essence of the dress code, and all the wrong and good are discussed here. In addition, there are some symbolic differences between people, gods, ghosts and souls in costumes. Feng Zeng summed up "six standards of various foot colors at that time" from five kinds of official biographies of Ming Copying Ancient and Modern Zaju 15 (see the Postscript of Four Articles of Ancient Opera for details), which did not mention the differences between men and women and various situations, but also existed in ancient operas. These stresses have a long history, but they are different in way and detail. Paying attention to the vivid expression of this difference is that traditional opera costumes can make the audience "suddenly look like people who have seen the future" (Tang Xianzu's language), knowing that it is false, but believing it is true. However, it is completely phased to embody these eight specific provisions. For example, Cao Cao, the Han Dynasty hero, wore mink and red pythons processed from the official clothes of the Song and Ming Dynasties. Although the foundation of his life was flawed by the wrong era, it met the requirements of the stage, and neither the actors nor the audience thought it was sick. If the actor thinks that these crowns are out of date and chooses bright Fenyang hats and yellow pythons, it will be a violation of the rules. According to the regulations, only emperors can wear yellow embroidered robes, and Fenyang hats can only be worn in xiaoyaojin and Yangpingguan after Cao Cao was promoted to Gong Wei. "Better wear than wear" refers to this. This dress code uses a complete set of modeling vocabulary to deal with the complicated dress phenomena in historical life in a simple and orderly stage, which not only makes the folk troupe look up to it, but also makes it easy for the civilian audience to understand. In the past, artists said, "You must let your ancestors know what you wear." This "granddaddy" is the tacit understanding formed by the actors and the audience in the long-term communication.

mode of transmission

There are five ways for actors to convey their dress intentions to the audience by using the dress code, namely, the style, color, pattern, material and wearing method of the crown dress. Style is the external shape of crown clothes, and the names of various crown clothes mostly come from their styles. Color, pattern and material are the internal shapes of crown clothes, and the limited styles can produce rich expressive force, which is actually due to the diversity of internal shapes. It is written about the specific styling treatment when actors wear it. It is these five ways that contain the whole set of modeling vocabulary of Beijing opera costumes.

Among these five methods, style selection is the basis. There are obvious differences in costume styles of Beijing opera characters. If a civilian wears a gauze hat and an official uniform and a military commander wears a helmet, there is no possibility of confusion. The difference between men and women is also obvious. Similarly, wearing embroidered robes or pleats or trousers, women are always much shorter than men to show their skirts. The different identities of a lady, a concubine and a servant girl can be seen from the style: a lady wears a gown or pleats; Maids wear short clothes, coats, trousers or skirts with vests; The concubine in the middle position is a combination of long and short, wearing pleats and a vest. The crown hat on the stage is often winged. Although it is a detail, there are also differences. Wings are often called "feet" or "horns" in history books, which are decorative deformation of the belt used to tie hats. Shen Kuo's "Meng Qian Bi Tan" in the Song Dynasty said: "There are five things in this dynasty: straight foot, local foot, horizontal foot, sky and downwind; Only straight feet are expensive and cheap. " The stage costume has made orderly regulations on the hat wings, which are divided into three categories: upward, horizontal and downward. The upward wing is the most valuable, and it is used for imperial hat, Kowloon crown, imperial towel, golden mink, photo towel and so on. Most of the civilian gauze hats are slightly upturned horizontal wings with various shapes. The person with special wings is called Xiang Diao or Xiang Sha, which is the highest level in the literary palace. The prototype of this style of life is Shen Kuo's straight hoe. It can be seen from the image data of Jin and Yuan Zaju that it has long been used to dress up officials until Kunju opera was positioned as the prime minister's exclusive use. The golden wishful wing of Fenyang hat and the three-dimensional dragon pattern on the long wing of flower-shaped mink are all reinforced decorations with straight feet, which makes the minister's position more noble. Civil servants at all levels below the prime minister have square wings (rectangular), pointed wings (diamond), round wings and peach-leaf wings, which are diverse in shape, but the horizontal direction is the same; These wings with different shapes are different from those of mink and Fenyang hat, and are suitable for different foot colors, so they have the meaning of praise and criticism. For example, the square-winged gauze cap worn raw is called "loyalty gauze", and the sharp-winged gauze cap worn clean is called "rape gauze". Hats and towels worn by people who are famous but have no official positions or leisure jobs use downward wings or streamers. Military commanders also have wings behind their helmets, because they are not as stretched as the wings dressed in crowns and hats, and their functions are obvious, so they are not very particular. The accessories of the crown hat are a changing factor of style significance, such as wearing a gauze hat, inserting golden flowers as champions and adding wings as husbands; The difference between Fan and Han, orthodox and unorthodox is marked by whether there is a feathered fox tail on the crown. There are also a few styles that can be asked for leave, such as arrow clothes and leaning clothes, which belong to the category of martial arts. "The strength of the township troupe is insufficient, so it can't be equipped with all kinds of leaning clothes, and it is often replaced by arrow clothes" (Lingxiao Xu's Talking about Clothes, Vol.3, No.5 of Drama Monthly). The choice of style can reflect the actor's understanding of the plot. For example, Lao Dan, who plays Wang Baochuan's mother in Exploring Kilns, wears python skin or official clothes. From the character's identity, there is nothing wrong with this, but she "went to the broken kiln to explore her female illness, not a guild." Why does she want to engage in public service? " It seems reasonable to be close to music or to be jealous easily "(Chen Moxiang's Summary of Peking Opera). The latter changed the former, because there are other reasons to pay strict attention to the situation.

As the most popular form of aesthetic feeling, color has many functions in clothing, such as expressing taste, temperament and situation. The colors used in clothing are the upper five colors and the lower five colors. The upper five colors (yellow, red, green, white and black) were determined earlier, and their hierarchical concept was deeply influenced by the Ming Dynasty. In the Ming Dynasty, yellow was reserved for the royal family, and Shu Ren's crown "forbidden to use yellow" (recorded in Jade Symbol of Ming History). Embroidered robe, as a style, is generally acceptable, and the grade difference lies in the color. The yellow embroidered robe is a dragon robe on the stage, which can only be worn when playing the emperor. This kind of yellow in the first five colors is positive yellow, that is, middle yellow. Because of its vivid color, it is also called bright yellow and delicate yellow. When playing Fan Wang or Mountain King, when court attendants need yellow, they are mostly old yellow and apricot yellow. During the reign of Emperor Kangxi, composer Juck Zhang noted in Song of Victory that the short coat of the escort in the play was made of old yellow, "Don't use delicate yellow, don't be overbearing". This rule has been maintained in Peking Opera performances for a long time. Secondly, red is the most valuable, followed by green and black is the poorest. When black shows poverty and meanness, it is often called "green element" because there is no embroidery (green can refer to dark green, blue and black; Black here), such as the green official clothes of door officials and Cheng Yi, the green arrow clothes of young warriors, and the green pleats of poor women. On the other hand, when expressing character temperament, black is often used as a symbol of uprightness, roughness and fierceness, but it needs to be supplemented by corresponding patterns. In the characterization of character temperament, most operas refer to the narrator. Guan Yu used to wear a red robe in Yuan Zaju, but after the popularity of Romance of the Three Kingdoms, he changed it into a red-faced green robe, which is different from Ma Wu and Meng Liang, and can better reflect his wisdom and courage. It is said that the handsome young generals in the Ministry wear white robes and silver armour, and the white on the stage is also the costume of military commanders, such as white pythons, white backs and white arrows worn by Zhou Yu, Zhao Yun, Xue, Yue Fei and Yang. White is the color of mourning in folk customs, and it is also on the stage. In Crying for the Spirit Card, Liu Bei will wear a white python. In this regard, Lingxiao Xu once criticized: "It's ridiculous." "Is there a mourning dress for Yunlong Flower in the world?" ("Say" Dress ") If you change into a plain white robe, it will definitely increase the atmosphere of mourning. However, the traditional concept of "performers acting" means doing the right thing, otherwise both the old performers and the audience will have psychological obstacles. This concept is also reflected in the use of red. Red is the most widely used in clothing, and should be used for noble grades, festive or dangerous occasions. The dangerous use of red is manifested in the evil clothes, which is actually the beautification of the ancient prison uniform ochre (earth red), which makes the performers avoid taboos and increases the joy of the viewers. After the middle of the Qing Dynasty, the court was followed by the people, and the range of colors used in costumes gradually expanded. The next five colors (magenta, pink, dark blue, lake blue, bronze or smelly incense) are generally determined, and a large number of similar colors are added to enrich the color vocabulary. Pink, lake blue and their similar colors, such as snow blue and moonlight white, can be in sharp contrast with bronze, smelly fragrance, purple sauce and dark green, which is especially beneficial to shaping the roles of men and women in family ethics and love. Purple and blue entered the theater box before the next five colors were determined. Since ancient times, there has been purple in Zhu Xi, which can be distinguished from red, and the color is redder and deeper; The color of blue is close to green, and the weather is gloomy, so it can replace green and black. All these make it more possible to adjust the color of the stage, and through the clever handling of the actors, the characters and situations can be better expressed. In the old "Catch and Release Cao Cao", Cao Cao wore a red embroidered hood, a purple flower arrow suit and a light blue flower pleat on the outer cover (see drama painting); Or wear a red hat, a blue dragon arrow suit and a red satin pleated skirt (see "Collection of Drama Studies" published by 1926). Hao thinks that these imitations are "intolerable in any case". Instead, he wore a purple plain hood (with a wide blue rim), a purple satin plain arrow suit, an apricot ribbon around his waist, and a blue satin plain pleated cover. It is based on the fact that Cao Cao in this drama is not only a fugitive who tried to assassinate Dong Zhuo, but also a murderer who killed the Lv Boshe family by mistake, pretending that "a dusty killing atmosphere must be created". There is no difference in style between the old and new ways of dressing up, but the combination of deep cold and hot colors, blue and purple, without embroidery, is the sharp increase of "bleak autumn" (ten plays and nine plays are different, described and recorded by Hao, series 1957, No.4, 186-65438).

The patterns in costumes are both beautiful and meaningful, and their manifestations include decorative themes, modeling layout and embroidery techniques. Dragon and phoenix can be described as the most important decorative theme of clothing. The dragon, which evolved from the snake totem of the ancient clan in China, is a symbol of the Ninth Five-Year Plan in feudal times. There were dragon-like pythons in the Ming Dynasty, and it was clearly stipulated that the five claws were dragons and the four claws were official pythons (see Wanli Leaf for details). The Qing dynasty followed closely. On the stage, all kinds of embroidered robes and costumes called Dragon Armor, Dragon Bi and Dragon Arrow are embroidered with python patterns. In modern times, it is not limited to four claws. Phoenix evolved from a bird totem. In ancient times, it was said that phoenix was the king of birds. On the stage, as long as the yellow is the ground and the dragon and phoenix are used together, it is the standard decoration of the emperor's empresses and a symbol of the ruler's power and dignity. However, compared with the two, dragons are more political and sacred. If it is used wrongly in real life in the Ming and Qing Dynasties, it is a crime of prohibition of alcohol. Officials need to "take off one claw" to wear the five-claw dragon satin (Qinghui Hall). Phoenix is easy-going and can be deeply rooted in people's hearts. Even if a folk girl embroidered a phoenix on the vamp, no one would interfere. On the stage, everything from headdress to clothing is also widely used by female characters. Phoenix with the sun and peony symbolizes light, wealth, happiness and love. Patterns also have different uses. Military commanders often wear animal patterns such as tigers and leopards to show their bravery. Civil servants' official uniforms are round-necked, with square patches on the chest and back. The patterns used are marked by birds such as cranes, golden pheasants, peacocks and clouds in the Ming Dynasty. The drama is mostly represented by cranes. Ma played Kou Zhun in Official History and Zou Yinglong in Yansong, all of which were based on the dress system of Qing Dynasty. As a legendary unicorn, Avengers can distinguish right from wrong and resist traitors. They are officials who are used to supplement clothes, such as governors, ambassadors, Shi Yu and provincial judges. This exquisite costume is very suitable for the characters in the play, but it is difficult for the audience to recognize it. Literati' costumes are mostly flowers and plants like "Three Friends in Cold Years" and "Four Gentlemen" or Bo Gu patterns, which echo their identity and temperament. Counselors use taiji diagrams and gossip to symbolize Taoism and wisdom. Other auspicious patterns, such as Dark Eight Immortals, Bat Patterns, Ruyi Patterns, Shou Ziwen, etc., are mostly used as a foil, or slightly embellished on shoes and hats. The meaning of the pattern is also related to the shape and layout. Dragons (pythons) have the most diverse forms, which are divided into positive side, lifting, walking, over the shoulder and so on. The most solemn layout of embroidered robes is the dragon (also known as sitting dragon) in the center, and the side dragons are paired left and right. The most imposing dragon is the over-the-shoulder dragon, with its head on its chest and its tail bypassing its shoulders, which is very dynamic. The former is used to pretend to be a born emperor and a senior civil servant, while the latter is used to pretend to be a born prince. Dragon patterns of different shapes can also be comprehensively applied to the same embroidered robe. The pattern layout of clothing has fullness, group, edge, corner, broken branches and so on. There are several kinds of tattoos on the ground, including embroidered robes, bedding, armor and palace clothes. Wrinkles, wrinkles, etc. Most of them treat balls, edges and corners in various ways. Generally, middle-aged people use group flowers, which are generous and steady; Young people often use side flowers, corner flowers and broken branches, which are light or lively and chic. Most of the patterns on clothing rely on embroidery, including color embroidery, Ping Jin embroidery and mixed embroidery, which makes the patterns have different decorative effects. Color embroidery is rich and elegant, suitable for a quiet and elegant character. Ping Jin is characterized by a pattern full of gold thread, which can best show the metallic texture of armor and is conducive to strengthening the heroic spirit of generals; Used in embroidered robes, slits and other clothing, it has a strong sense of publicity because of its glittering, and is most suitable for a straightforward role. Mixed embroidery is colored embroidery with gold, silver or Ping Jin. In the past, the dragon and python group used solid color embroidery, but now it feels rustic. Generally, money is used to outline the pattern, or gold thread is inserted in the water of colored embroidered pythons, which can increase the luxury style. The choice of patterns is more flexible and difficult than styles and colors. For example, it is stipulated that the white snake in Jinshan Temple should wear white underwear and combat clothes. As for the specific patterns, actors can participate in the design. Mei Lanfang once compared the different patterns of three sets of clothes and skirts: a set of ancient money patterns embroidered with black lines, "it seems to cover the whole body with dark lines, diluting the white luster, and the money patterns are dull and not fairy"; A set of embroidered eight flowers, "a little old-fashioned, but it smells like the white arrow clothes worn by Wu Zixu and Xue"; Comparatively speaking, another set of flowers embroidered with three blue twigs is the most beautiful. Mei Lanfang concluded that "under certain conditions, the structure of the pattern can sometimes change the effect of texture and color." (Mei Lanfang talks about stage art, recorded by Zhu in the 8th issue of Shanghai Opera 0 1962) And the "white brilliance" and "fairy spirit" he seeks in this dress are just the needs of shaping the mythical figure White Snake.

There are many kinds of clothing materials. Qing officials "cut tribute satin into clothes" (Qing Shi Lu Draft), and official clothes mostly used rich patterns such as carved silk, velvet and brocade, even single clothes and poor clothes, which weakened the significance of style selection. Beijing opera inherits the tradition of folk Kunbu, rarely uses brocade, establishes plain silk as the main body, and highlights the expressive force of pattern embroidery. Satin is the most widely used silk fabric. Satin can be hard or soft. In the old days, the so-called "hard-faced open-faced soft-faced pleats" meant that fabrics were related to styles. Hard satin is used for decoration of pythons, lying, opening and palaces. Solid texture, crisp lines, can carry dense embroidery without deformation. Satin and crepe are softer than others, and the folds are naturally smooth. They are used for some folds and wrinkles. Thin silk fabrics, such as silk and spinning, are mostly used in skirts, trousers and sleeves. Brocade is generally used as an edge decoration. Kunqu opera attaches great importance to the use of cloth, and the "Jianghu Wardrobe" in Yangzhou Painting Boat Record has cloth boxes. This spirit is still preserved in Peking Opera performances in the late Qing Dynasty and the early Republic of China. For example, the red sin suit, made of cloth, is dressed as a "fisherman to kill his son". "Wearing a small straw hat and a blue cloth tea suit, she looks like a poor girl and elegant" (the second revolutionary of Beijing Opera, a master of Bigmo dance). Zhu Suyun plays Shi Xiu in Cuiping Mountain, wearing a blue arrow suit. Or' why not make a satin sweater?' Suyun said with a smile, "Shi Xiu is just a butcher's ear. How can he afford satin clothes? (Feng Shuluan's Talk about Xiao Hongxuan's Drama) Lingxiao Xu's Talk about Clothes says: "The costumes these days are all satin crepe. Even the old beige buckets are played happily by the famous actor Sean, and there are exquisite textiles to wear. The fullness of silk fabrics is inseparable from poverty and wealth. However, it seems that the tea clothes are still embarrassed to change the cloth into crepe. This is really famous! " (Drama Monthly, Volume 3, No.6) All kinds of silk-woven crystals and cotton fabrics have different textures of light and dark, which can enrich the level and change of stage colors, and at the same time, they can also set off each other, so that both gorgeous and simple are strengthened, which is conducive to expressing the disparity in social status between roles. Yang Xiaolou, who plays Lin Chong in Running at Night, uses blue velvet with good light absorption instead of reflective blue satin to make an arrow suit, which makes the specified situation of the night raid more vivid.

Finally, there are various methods. For example, wearing a waist skirt on the outside of the coat and touching the two skirts with both hands when walking can show the miserable appearance of running around; Vincent's towel has two streamers hanging on the back, tied to the edge of the towel and tied with a knot on the left, which can make the trip rush; Before the marshal went out to war, he leaned on it and put a python coat on his body (called attacking a python), giving people a feeling of being a military horse. The flag tied around the vest is for the generals to look down. If ugly generals tie flags loosely around their waists, or just stick them aside, they will show their incompetence and absurdity.

The above styles, colors, patterns, materials and patterns are intertwined, which plays the role of wearing regulations. Just like the warp and weft on the brocade, you can't see clearly if you take one piece in isolation and interweave it to present a certain pattern. As long as they are used in an orderly and regular manner and matched with the corresponding makeup, you can dress up a variety of roles. For the audience with appreciation experience, it is all interpretable information. Through the comprehensive judgment of their own minds, they can quickly understand the intention of the wearer and even identify the specific role.

Stability and variability

As an integral part of traditional performances, dress code has a history of hundreds of years and will continue in the future. However, its stability is relative, and there are always some variables in its circulation. The reasons for the change mainly come from plays and actors. In order to perform a new play, it is sometimes necessary to create new clothes. For example, the Xu Xian towel and the white snake costume in Kunbu were created to perform the Leifeng Tower. Xu Xian towel is called "jade felt hat" in the official Dressing Outline, which shows that it evolved from felt hat, and later it was further beautified and became Xu Xian towel. It is conditional that COVID-19 clothes can be put in the suitcase: either the play should be performed frequently, or the COVID-19 clothes were originally designed for one character and can be used by other characters in the future. For example, Fenyang Hat (commonly known as Christophe Wen) was originally designed for Guo Ziyi, the king of Fenyang, when he performed a bed full of water. After the troupe came into being, it performed The Story of Feng Ming, which was also worn by Yan Song, which made the two cabinet ministers in this play dress differently: Xia Yan still wore tulle, while Yan Song wore a golden Fenyang hat, thus highlighting Yan Song's prominent position. In Peking Opera, it is also used in Yan Ge in Yan Ge, Cao Qiaoguan in xiaoyaojin and Cao Cao. Fenyang hat has been "settled" in the suitcase for a long time because it improves the level of the first suit of senior officials and has more uses. There are many changes in terms of actors. (1) Adapt to your own conditions and make changes. For example, in Dingjun Mountain, Huang Zhong, She Sansheng, Jing, and Long Changsheng all wore handsome helmets and white scarves. Later, Wang Jiuling changed into a soft scarf, and Tan Xinpei not only wore a scarf, but also changed the white scarf into a white one. Tan's change has something to do with his thin face, so Qi Rushan said, "This place is by no means the fault of Jiuling He. Because of putting on airs, we should not only suit the situation of the ancients, but also consider the situation of our own feet (shape and posture-leaders) "(The Change of Peking Opera, p. 18). Another example is the Yasuda Society in the Monkey King. According to the rules of Kunban, the first scene should be dressed in female pythons, and the role played by Yang Xiaolou is dressed in yellow flat gold pythons. Its original motivation is related to Yang Gaoda's figure, but its deep meaning is the change of aesthetic evaluation. It is a special way to make the Monkey King of Huaguoshan dress up as a female python, because he is occupying king of the hill, for example, playing the clown Cheng. Contains contempt and ridicule. After this change, it has played an artistic effect of twists and turns, derogating from praise. "It is not only gorgeous enough, but also makes the characters look better" (Zhou Zhifu's Review of Yang Xiaolou, p. 24). After that, most of the performers dressed up as Fa, and even after adaptation, the title of the play was changed from "An Tian Hui" to "Noisy Heaven". ② Changes brought about by the influence of other operas. Yang is chopping at Yuanmen with a white python. Liu Hongsheng performed this, "parody", "three in and three out, three easy to wear: from python to purple official uniform, from purple official uniform to variegated color." (Chen Moxiang's Summary of Beijing Opera) Because this "three-change dress" has no plot basis, it failed to pass the stage of Beijing Opera. However, there are also popular examples. According to the old rules, Pan Bizheng and the messenger of the "Third Trial" are wearing embroidered robes, but only golden dragons: Wang is a red python, Pan is a purple python, and Liu is a green python (see Qing Palace painting). In "Yu Tang Chun" written by Bangzi class, the left and right officials are chiefs and wear official uniforms (see Lingxiao Xu's "Talking about Clothing"). These two ways of dressing up are in line with the role identity. However, Beijing Class has made a change. The identities of Pan and Liu were not changed, but the embroidered robes were replaced by official uniforms. First, they all wore red official uniforms, then changed to purple official uniforms when they played Liu Bingyi in Tan Xinpei, and then changed to blue official uniforms. Mei Lanfang said: "This rule of changing blue robes is probably always around the year of Gengzi (1900). According to the rules of the Bangzi class, Liu Bingyi can always wear a blue robe. " ("Forty Years of Stage Life", page 98) This way of dressing makes the clothes of three officials in the same venue have obvious differences from level to color, which can better set off their different attitudes towards Susan and has been passed down to this day. (5) Processing out of pure beauty psychology. Eleven lang of Baishuitan is an employee. He wore a felt hat, old-fashioned tea clothes and trousers, and carried the burden with a pole. Li Chunlai, a master of Jiangnan Wushu, is good at performing this play. He was "too poor in ostentation and extravagance", so he changed to wear a straw hat ring, green pleated clothes and green clothes, and carried the burden with a stick. Gai Jiaotian, etc. Living here has become the standard dress of Ichiro. In his later years (58 years old), Li Chunlai changed his green clothes into "splendid clothes", which was far from the identity of Eleven Lang and was criticized by the newspaper: "It's a pity to be confused by fashion and forget the typical style. Back out, before and after (two kinds of clothes-leadership) are completely different. Is it because it is old and declining? Do you want to embellish it? " (Xuan Longwen, 1965438+ Shen Bao, April 20, 2003) Such mistakes are common in the history of Peking Opera, and they are all good at distinguishing. Some can't identify clearly, just look at the beautiful ones. In Fenhe Bay, Xue and Wujiapo, the old guard wore a whistle hat or a big leaf towel, and wore a green plait and blue cloth arrow suit over the shoulders of soldiers, which was the appearance of disguised soldiers. In this performance, Tan Xinpei changed into a Ssangyong Tatar hat, an arrow suit and a dragon coat, and traveled like a king of a country, which was inconsistent with the lines in the play. There were many critics who criticized the play, and then all the performances were "all Tan Hua" and "the same old story". (4) Improve and innovate by excavating the sense of drama. In the past, the iron mirror princess in Shiro's visit to her mother only wore cheongsam. Since entering the palace to wear cheongsam and stealing orders to wear pythons, Yan Ju is different from pilgrimage, and Mei Lanfang and Cheng follow suit. Mei Lanfang's improvement on the role of white snake is a famous example. Mei's predecessors wore big money in Jinshan Temple and Broken Bridge, and so did Mei in her early days. 1928 The shooting of the broken bridge shows that Mei created a soft forehead (later called white snake forehead). The benefits of this reform are not only different from those of ordinary female generals, but also cooperate with disarmament and put on pleated purses, which is a complete model full of role characteristics. There is a face card in the middle of the soft forehead (symbol of martial arts role). In terms of the color of the fluffy ball at the top of the face card, Mei used blue or white to emphasize simplicity and purity earlier, but in the early 1950s, she changed it to red: all white, with a little red on her head. This is a brand-new treatment after Mei Lanfang's in-depth understanding of the plot characters, which makes the shape of the white snake more aesthetic and artistic. No matter from the changes of drama or actors, the basic contents of suitcase system, such as hypothesis, aesthetic feeling, simplicity and eight differences in application, have not been destroyed. Only the capacity of the suitcase and the specific use and shape of the object are changed. If it is insufficient, it will be filled, and the shape will be updated. It is these changes that make the Eight Differences more detailed and the characterization more vivid. But the change is endless. After the rise of the concept of anti-program creation, the stage dressing system is comparable to the non-suitcase system, which is not only the positioning basis, but also an innovative reference for the stability and variability of dress code, which will bring more changing factors. In a long process, its future trend and artistic appearance depend on the drama concept and cultural accomplishment of the actual performers.