Some people say that the appearance and appearance of Beijing opera have reached the end of formal beauty and can't be developed any more, otherwise it will affect the shaping of characters. Indeed, there have been some trends of pan-formal beauty in recent years, but the appearance of Beijing opera has its own rules. It should be a means to set off the moon, which is conducive to expressing the true feelings of the characters, conforming to the dress code of the identity of the characters, and achieving the purpose of shaping the characters in the drama.
1, the role rules of Dan's role: the content of traditional drama mostly shows the lives of emperors and princes, talented people and beautiful women, and ordinary people. According to the history and headdress, a program of Beijing opera role dressing was made. For example, Tsing Yi, in Beijing Opera, is mostly a gentleman, with dignified and generous appearance, delicate eyebrows and eyes, and duck egg shape as the general standard. The overall effect should be elegant and generous, mainly with the heads of Diancui and Yinding. The change of headdress should depend on the changes of characters and plots, and weddings and celebrations should be represented by wearing red velvet flowers and peach blossoms. Take Zuo Taizu night as a widow; Shaking hair on the right side shows wandering, distribution and madness, and there are also some Tsing Yi operas holding hands.
The combing of the big head of Tsing Yi drama is first decided according to the conditions of the actors. The reference coefficient of height, height, thinness, thickness, length and short of a big comb should be combined with the proportion of the actor's head and body shape. The combed head does not protrude and stick to the actor's head, which has a sense of integrity. Of course, the other positions of the hairpin should be accurate, and the appreciation standard after combing should be the same as the actor's own hair. After combing the big head, the next process is to wear the head. There are three criteria: the age and identity of the characters in the play; Sadness and comedy; Business. For example, tragic figures, although some plays wear a little green hair, are by no means all green, but the audience should also see the layout and shape of headdresses. Generally, Hua Dan plays mostly innocent and lively girls or well-off families, so the colors should be bright and dazzling, and most of them are in a bun with big braids. The length of the bun depends on the actor's body shape, which is generally moderate and conducive to performance. The hair is smaller than that in Tsing Yi, and the bun should be tied on the head to show your girlhood. The choice of girls' heads is mainly double-light rhinestones, and their heads are shiny, which is very bright and bright with the embellishment of Xiaofengtao. Some Hua Dan operas also wear ear spoons, which make them "half-warped", that is, half-headed and half-faced, which can also produce "irregular coordination" and then be inherited by people to form programs.
Wu Dan, Beijing Opera Blues, all played heroic deeds, mostly in the form of martial arts. Therefore, the basic principle of decoration and dressing is less and lighter. The big head requires a small and tight lining, and no matter what difficult skills you do, you will not be embarrassed. The key points are: the position of bridle should be accurate, the size and strength should be properly mastered, the head shape and technical difficulty of actors should be studied, and the height and tightness of bridle should also be considered. This measure is still judged by experience and feeling. Then, the size of the net should be appropriate and the bottom hole should be important. On this basis, the combed head will not come loose. Then there is the key water yarn. The bottom of the water yarn is important, so that the wrapped head will never be disturbed by any actor. In addition, the positive characters should insert cards and hydrangeas, and the negative characters should insert arrowhead leaves and pompoms on the right. Wu Dan, who reflects the ghost play, should play colored balls and wear his forehead, and his color should match his clothes. The colored balls should be tied evenly with petals, and the silks should be neither crooked nor oblique, and the sizes of the three balls should correspond. In other martial arts dramas, a twist is made on the head according to the identity of the characters. The method is to repeatedly connect the left hand and the right hand on the head, leaving two corners to show the character's capable and simple personality and identity.
Cai Dan, they often play humorous, funny and witty roles in the plays. Of course, there are both pros and cons. We should decide the color and headdress according to our personality, age and status. Basically, Cai Dan, the positive character, combs three sets of ants, while the negative character combs Suzhou tail with red pepper. The color and decoration of the net depend on the characters.
2. Requirements for dress with flag head: The flag head is rarely used in Peking Opera, but its combing method must be mastered by makeup artists, which is a difficult technique. Flags originated from women's headdresses in the Qing Dynasty were put on the stage, making the prototype of life bigger and more artistic. For example, the flag bearer's two heads are made of green satin, and the dovetail is also what it looks like on the stage after artistic processing. Dovetail's life is to show solemnity by limiting the head movements of flag-bearer women, beautify the exposed part of the neck on the stage, and is also a good means to show character temperament. The essentials of combing hair are: first, accurately locate the flag head seat, neither leaning forward nor leaning back. After the flag is combed, there can be no bulging, and the arm measurement is seamless and flat, which means it is up to standard. In addition to the three flowers specified on the front, other decorations and jewelry should be worn according to the identity of the role and the conditions of the actor. In addition, the flag is only worn when the court is in session, which is probably a procedure designed to follow the rules of life and court at that time.
3. Generation and application of ancient costume head portrait: The ancient costume head portrait is the pioneering work of Mr. Mei Lanfang, a famous Peking Opera performance artist. It began with the painting "Ma Gu Xian Shou Tu". Later, Mr. Mei learned from singing and dancing and combined it with the head of traditional Chinese opera, resulting in a new form of dressing. At that time, there was a strong reaction, which broke through the single mode of combing the big head on the opera stage.
Clothing head is mainly headdress, of course, the length and size are required to be appropriate. Then, according to different historical periods, according to age, identity, and actor conditions, various hairstyles are combed out, followed by one or two ponytail hairstyles. Generally speaking, people with status mainly comb their hair into a bun; Maids and waiters often comb their hair in a bun. The names of the bun are: a heavy head, Erlang bear, plum blossom, phoenix watching the dark clouds, partial moon. Most of them wear trinkets on their heads.
In short, the principle of putting your hair on your head should be sunny. It is necessary to highlight not only the appearance of the actor, but also the character and identity of the character, and more importantly, it is conducive to shaping the image of the character and expressing emotions. This is where our culture and makeup art lie. You can't put the cart before the horse, and combing like graffiti can't serve the performance.
With the development of history and the progress of art, China opera art should also produce vitality that is synchronized with social development. Make-up art is by no means a pure technical work, it is an important part of stage art and has an important relationship with lighting, clothing and scenery. With the development of the times, especially the progress of lighting technology, many new topics have been brought to the makeup of traditional Chinese opera, and the realistic spirit of traditional Chinese opera performance art has gradually emerged, which has also brought new challenges to the makeup art. Whether to keep the tradition unchanged or follow the trend is a new problem we are studying. In my opinion, only by retaining the national character can the art of traditional Chinese opera show its cosmopolitanism, and it must completely inherit the wealth of predecessors in order to develop on this basis.