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CHILD-LIKE Power Behind Beijing Opera
Most foreigners coming to Beijing will go to see Beijing opera at least once. Most short-term visitors, however , go to theaters like the Liyuan Theater at Qianmen Hotel or Huguang Guild Theater, according to today's Beijing Today.
The daily performances there are restricted to several highlights , in which the singing part has been rearranged to a minimum and acrobatics to the maximum. The opera circles consider this sort of performance as "tourist ' opera" providing foreigners with a chance to get close to Beijing opera , but definitely nowhere near the essence of itBeijing opera is derived from local operas in Hubei and Anhui two centuries ago, later undergoing dramatic changes through the early artists of several generations, forming its own independent,complete style and reaching its prime at the beginning of the 20th century. It has been entitled the "naional quintessence", the most representative opera of China that finally took the place of Kunqu opera.
In Chinese eyes , stylized Beijing opera is abundant with things that are worth careful study. The stylized singing, acting , recitation and acrobatics on stage along with the facial make-up, costumes , and stage best demonstrate the Chinese concepts of beauty. The repertoire of Beijing opera covers all the virtues the Chinese worshipped: loyalty, filial piety, kindness, righteousness, propriety, wisdom and credibility. Stories to be staged are mostly already well known to the public through literature and other forms of folk art. Thus there is a saying: when watching Beijing opera, a familiar one is the first choice. It doesn 't mean that the story or plot is not importantŁ»it just implies that the way the actor or actress performs ,how he or she sings , is wherethe charisma lies.
Like people 's zeal towards the high "C " in western opera , a resonant voice is also crucial to win the audience in Beijing opera. Conveying emotions as opposed to simply singing out loud is just as irtant in Beijing Opera however ,if not more so. Thus, if one could not be a Pavarotti, he could still be a Carreras. In the first half of the 20th century , there were"Four Top Actors for Male Roles" and"Four Top Act for Female Roles ". The condition of their voices was different, but they knew how to exploit their advantages to the full , each of them had his tour de force to attract the fans. The form of the melody should follow th character of the role , the development of the story.
The three other elements on stages comply with the same rules. Acting, recitation and acrobatics should not be separated themselves from the story. According to noted opera critic Zhou Huan,"if the singing, acting, recitation and acrobatics separate from the story and the character , the actor or actress only shows off his or her skills , then Beijing opera could not be called an art. The most common d¨¦cor in Beijing opera is one table and two chairs. One table and two chairs represent everything. The principle used here can be traced to the same origin in Chinese traditional paintings. It is fastidious abot space. A good painting should leave space in proper proportions ,as should the stage. When the actor or actress enters, the d ¨¦cor is on; when he or she xits, the d¨¦cor goes with them.
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