Methods for facial makeup for raw actors
Due to differences in age and personality, the raw actors (including the final actors) of Peking Opera, including old students, martial arts students, and young students (including baby students), need to use facial makeup. There is a difference.
Laosheng (including Wu Laosheng) mostly plays the role of decent middle-aged or elderly people. The facial makeup of middle-aged people (like Lin Xiangru and Zou Yinglong) should be dignified, solemn, and majestic. Apply a little makeup on the face, paint on the eyebrows, and hang a black beard.
When playing an elderly character (such as Song Shijie, Zhang Guangcai), it is not advisable to apply too much makeup on the face, and the appearance must be old (white beard). When playing the role of an old heroic general (like Huang Zhong, Xiao En), the facial makeup should be in a heroic style (white beard or ginseng beard).
Xiaosheng plays the role of a young man (like F Peng, Zhang Junrui, Xu Xian), with makeup on his face and eyebrow makeup. Facial makeup should have delicate features and a handsome appearance.
Wu Sheng plays the role of a young heroic general (like Zhao Yun, Wu Song, Gao Chong), with a little makeup on his face, red paint on his seals, and high eyebrows. It makes the brave and tenacious heroic spirit appear between the eyebrows.
Wansheng plays a teenager (like Xue Dingshan), and his facial makeup is similar to that of a young student. However, in order to express the child's appearance, a red dot must be painted on the seal chamber. (This is a kind of facial decoration in ancient my country. Children who are underage often draw a red dot on their forehead, which is called "dot forehead".)
Horned beard - my country In ancient times, long beards were regarded as beautiful, and the beards (also known as "mouth faces") worn by middle-aged or elderly people playing roles in operas were even longer. This exaggeration of beards is closely related to the character's performance movements. For hundreds of years, ancestors artists have used beards to create performance routines such as beard trimming, beard pushing, beard shaking, beard swaying, and beard blowing (beard mouth skills), which are of great help in exaggerating the psychological state of characters.
Beards with horns are divided into two types: "three beards" and "full beards" due to differences in age and physiology. Three beards are three long beards, and there are three types: "black three", "ginseng three" and "white three". Like Zou Yinglong in "Defying Yansong" and Zhuge Liang in "The Meeting of Heroes", they are all in trouble. Old characters, such as Zhang Cang in "The Book of Robbers" and Zhuge Liang in "The Empty City Strategy" lead Shensan. Liu Bei in "Lianyingzhai" and Lu Boshe in "Capture and Release Cao" both have Bai San. "Full beard" means that the beard is even with the cheeks down, and it is very plump. The raw horns usually only bear the words "ginman" and "baiman". For example, Xiao En in "Fishing and Killing the Family" is full of ginseng, and Yang Jiye in "The Monument" is full of white.
There is also a "five-tufted beard" worn by the character Guan Yu. (There are also those wearing black hats). The "Er Tao Beard" is slightly shorter than the full beard, and most of them play the roles of the courtyard and the middle army. Rarely seen now.
In addition, some people in the play changed their beards on the spot, like Wu Zixu in "Wenzhaoguan". Because he could not pass Zhaoguan, he was so anxious that his beard turned white. From the black three to the ginseng three, and then to the white three.
In recent decades, many new historical dramas have adopted improved beards. But it is rarely worn in traditional repertoire.
Methods for facial makeup for Dan roles
Due to differences in age, identity and personality, the Dan roles (female roles) in Peking Opera are roughly divided into Zhengdan (Qingyi and Guimendan), Huadan (including Hua Dan) It can be divided into Shan, Tiedan, Xiaodan), Laodan, Wudan, Daomadan, and Caidan (Choudan).
In the past forty years, the makeup of female actors in Peking Opera has undergone great changes. In the past, the facial makeup of Zhengdan and Huadan were different. Zhengdan mostly plays the role of a decent middle-aged woman, with a little makeup on her face. Most of the women who play the role of poor women wear green pleats, no beads on their hair, and no makeup or very light makeup on their faces. Hua Dan plays a lively young woman or a frivolous and shrewd female character, and her face must be covered with heavy makeup. (Wear beads and flowers on your head, and wear floral shirts, floral skirts, floral jackets, and floral trousers). These two different makeup techniques have differences in life and personality. (Zhengdan and Huadan are also known as Qingyi and Huashan, which are named after the different costumes of the characters.)
However, due to the changes of the times, people's aesthetic views have also changed. The makeup used for female roles in the past seems to be no longer beautifying enough. In the past forty years, there has been great artistic creation in the facial makeup of Peking Opera actors, as well as in hairstyles and headdresses.
Many famous female actors have created many typical images with distinctive personalities based on the facial beauty of ancient women, based on different characters in the play. However, there are also some female actors who simply pursue the beautification of their appearance. No matter what role they play, they always wear heavy makeup. This is not appropriate. You should know that although the facial makeup of Qingyi, Huadan and Wudan is roughly the same now, due to the differences in age, personality and living environment of the characters, there should still be differences in the artistic styling. In order to have a clear understanding of the facial makeup of Peking Opera female roles, here is a brief description according to different roles:
Zhengdan - mostly plays upright middle-aged or young women, and facial makeup should be good-looking. Although the faces of poor women (like Zhao Wuniang and Qin Xianglian) may be painted with makeup, it should not be too heavy. When playing the role of a boudoir woman (like Du Liniang), the eyebrows and eyes must be delicate, and the makeup on the face should be slightly heavier.
Huadan - she plays a wide range of characters: there are lively and innocent girls, like Chunxiang in "Chunxiang Makes School", and the village girl in "Little Cowherd". There are frivolous and coquettish women, like Yan Poxi in "Wulongyuan". There are also women with fierce personalities, like Li Sanchun in "The Family Separation". Most of these characters wear heavy makeup on their faces. However, the drawing of eyebrows and eyes should be different according to different characters. To play the role of a girl, you must put a red dot on the seal chamber.
Wu Dan, Daoma Dan - female characters who play martial arts (like Sun Erniang, Mu Guiying) have similar facial makeup as Hua Dan, but the eyebrows and eyes are raised higher to show the charm and heroic spirit. . (The miraculous characters played by Wu Dan, like the jellyfish in "Four Continent City" and the white rat spirit in "Bottomless Pit", have the same facial makeup.)
Lao Dan - plays an elderly woman, like the "Taijun Resigns to the Court" "Taijun She" mostly has a natural face, not enough makeup. However, the role of an old lady played by a young actor will look very different if the face is not made up. Only a few lines of wrinkles on the forehead, corners of the eyebrows and the corners of the nose can portray the appearance of an elderly woman.
Caidan - It is performed by a clown, also known as Choudan. Most of them play the first-class villain women in feudal society (like "Three Aunts and Six Possessions") (like Sai Xishi in "Nengren Temple"), but they also play some funny and witty women (like Wan in "The Four Scholars"). Due to different personalities, there are some who apply makeup on the face and some who don’t. But most of them have a mole on their forehead or cheek.
Methods of Jingjiao facial makeup
The Jingjiao of Peking Opera include Zhengjing (bronze hammer, old face, black head) Fujing (painted face) and Wujing (wuhua face and Wuer flowers). There are positive characters and negative characters in the roles played. Facial makeup varies. To play a character in a play, an actor must draw facial makeup according to a certain pattern, which is called facial makeup. (The old students and Wu students who pinched their faces are also included).
Facial makeup is a makeup method that exaggerates the appearance of a character. This kind of facial makeup with a pattern uses realistic and symbolic artistic techniques to express the character's mental outlook.
There is an evolution and development relationship between opera masks, singing and dancing masks in ancient my country, and the painted faces of various operas. At first, facial makeup only had three colors similar to skin color: red, white, and black. The drawing of eyebrows and eyes was relatively simple, basically close to realism. Guan Yu's face is red, which is exaggerated into red face. Bao Zheng has a black face, which is exaggerated into black face. Only when you pretend to be a ghost or a green forest character can your face be colorful. After hundreds of years of evolution and development, the composition and colors of facial makeup are often mixed with each other, gradually exaggerating the appearance, and becoming a makeup method to show the character and quality of the character. This special facial makeup art has the intention of "containing praise and blame, distinguishing between good and evil". It reflects the people's clear love and hate emotions and attitudes towards the characters in the play in feudal society. However, there are also some non-realistic things mixed in Facebook, and we have not yet found a more correct explanation. Now we can only follow the legend passed down by old artists to briefly describe the composition and color expression of Peking Opera facial makeup as follows:
The composition of Peking Opera facial makeup - Peking Opera facial makeup is based on Hui opera and Han opera. It absorbs the expression techniques of Kun, Ge and Bangzi and changes and develops them.
In terms of facial expressions, there are different methods such as "whole face", "pink face", "rubbed face", "cross gate face", "three-piece face", "painted face", "broken face", "crooked face" and "pictographic face". .
"Old face" is also known as "six-pointed face" and "two-faced face". Most of them play the role of upright and courageous elderly generals. Their facial makeup features are mainly the exaggeration of two white eyebrows to show the age and vigor of the characters in the play. There are red faces, black faces, purple faces, and pink faces. The red face looks like Huang Gai in "The Gathering of Heroes", the black face looks like Yu Chigong in "Beijing Madness", and the purple face looks like Xu Yanzhao in "The Second Entering the Palace". They all belong to the double-faced method.
Most of the people with the "three tiles" face are heroic generals (both positive and negative). The "three tiles" technique mainly focuses on exaggerating the skin color of the eyebrows, eyes, nasal fossae and muscles. For example, Ma Su in "Lost Street Pavilion" has a three-tiled face with oily white tiles; Jiang Wei in "Tielongshan" has a three-tiled face with red tiles; (both have black beards) old characters often have droopy eyebrows, like "Jiaxing Mansion" Bao Ci'an has a tile-faced face. (With a full white beard)
Most of the people with "Cross Gate" faces are old heroic generals, such as Yao Qi (with a full white beard) in "Caoqiao Pass" and "Muhu Pass" Gaowang (beard full of ginseng). Due to the different characters played, the eye tiles and nose sockets are also slightly changed.
In addition, like Zhang Fei and Niu Gao's "Hua Cross Gate" face, Xiang Yu's "Hua Liangbo face" are based on the basic formulas of the "Cross Gate" face and the "Hua Liangbo" face. Changed from above.
"Pink face", also known as "treacherous face", is to apply white all over the face, and use a black pen to draw the eyebrows, eyes, nose sockets and facial muscle texture to depict the characters in the play. The character is cunning and cunning. Like Zhao Gao in "Universal Frontier" and Cao Cao in "Catch and Release Cao", both have white faces.
“Face rubbing”, also known as whole face, involves rubbing the face with red, black, purple and other colors, and then drawing out the eyebrows, eyes, nasal fossae and muscle texture. Like Guan Yu rubbing his red face, Yu Qian rubbing his purple face, etc. Using your original skin color to draw black and white textures is also classified as face rubbing. (Like Jiang Ziya)
Heroes and generals with reckless and brave personalities and green forest figures often have "painted faces" and "broken face". The pattern and color of the painted face are relatively complex, and are often combined with the "three tiles" and "cross gate" methods to make changes, with one color as the main color and the rest as secondary colors. Like Li Kui's black face (both with black beards), Ma Wu's blue face, Cheng Yaojin's green face, and Dian Wei's yellow face. (All wear red beards)
"Half face" is also known as "Yuanbao face". The pattern is to pinch the face below the eyebrows and expose the forehead. Like Ma Han in "The Beauty Case", he has a Yuanbao face.
"Crooked face" is an abnormal depiction of facial features, mostly describing martial arts characters with vicious faces or ugly appearance. The fierce one is like Zhu Biao in "Zhujiazhuang"; the ugly one is like Zheng En in "The Melon Garden".
The "elephant face" is mostly used for characters of gods and monsters, such as Wukong (monkey face) in "Havoc in Heaven", Peacock Mingwang (bird-shaped face) in "Baicao Mountain", and the Bull Demon King (cow face) in "Panana Fan" ), personifying the image of birds and beasts, and painting it on the actor's face, still giving the feeling of the image of birds and beasts.
In addition, monks, old Taoists, and eunuchs all have certain musical styles, such as Yang Wulang in "Mount Wutai" and Lu Zhishen's monk face (with a beard) in "Wild Boar Forest"; Wang Feitian's old Taoist in "Centipede Ridge" The face (with a black beard); the composition of Yili's eunuch face (with a bare mouth) in "Golden Terrace" is mostly made of three tiles.
The color expression of Peking Opera facial makeup - the color expression of facial makeup was originally an exaggeration of facial skin color. The image has a red face, which is exaggerated into a red face (like Guan Yu). The complexion is dark, exaggerated into black face (such as Bao Zheng). Later, facial makeup evolved from an exaggeration of appearance to a makeup method to show the character of a character. Red face became the hue of a loyal person; black face became the hue of an upright person; white face became the hue of a treacherous person. The expression of this kind of conceptual form combines realistic and symbolic artistic techniques to show the spiritual outlook of the characters. As soon as the character appears on the stage, the artistic appearance of the character in the play will give the audience a clear concept of character - righteous or evil; kind or ugly. It has long been familiar and felt by a wide audience. According to legend, red faces mostly represent loyal and righteous characters, such as Guan Yu’s red face, Huang Gai’s old red face, and Jiang Wei’s red three-tile face.
Black faces mostly represent upright or reckless and brave characters, such as Bao Zheng's black face, Niu Gao's black cross face, and Li Kui's black face. White faces mostly represent cunning and cunning characters, such as the white faces of Zhao Gao, Cao Cao and Qin Hui. Purple faces mostly represent brave and courageous characters, such as Chang Yuchun's purple face. Yellow faces mostly represent characters with cruel personalities, like Dian Wei's yellow face. Most of the painted and green faces represent brave and tenacious characters, such as Shan Xiongxin’s green painted face and Ma Wu’s blue painted face. In addition, colors like gold and silver are mostly used in makeup for gods and monsters.
The above color expression refers to Peking Opera. Various dramas have different ways of expressing the colors of facial makeup. Just like the Huang Gai in Peking Opera has a red face, the Huang Gai in Gan Opera has a purple face. In Peking Opera, Zhuan Zhu has a purple face with three tiles, while in Qin Opera, Zhuan Zhu has a black and white face. Xu Yanzhao in Peking Opera has a purple face, while Xu Yanzhao in Hebei Bangzi has a black face.
Image symbols of Peking Opera facial makeup - In Peking Opera, there are some mythological masks and character masks, with image symbols painted on the face. Mythological facial makeup, like the Big Dipper, has seven stars painted on its forehead, indicating that it is a star in the sky. Zhao Gongming painted money on his cheeks to show that he was the God of Wealth. Character facial makeup, such as Zhao Kuangyin's eyebrows painted with red dragons, indicates that he is the real dragon emperor. The Tai Chi diagram painted on Jiang Wei's forehead means that he knows Yin and Yang, is good at Bagua, and is proficient in the art of war. Bao Zheng painted a crescent moon on his forehead, which means he can cut off Yang during the day and cut off Yin at night. Yang Qilang has the character "Tiger" on his forehead, which means that he is descended from the Black Tiger Star. In addition, there are also people who draw weapon symbols on their faces. Like Dian Wei, who is good at using two halberds, he draws the shape of the two halberds between his eyebrows. Most of these image symbols, except for facial makeup of gods and monsters, have a color of feudal superstition and are not in line with the true intention of facial makeup. This is because the ideology and creative methods of the ancestors of artists were subject to various limitations of the old era, so facial makeup is mixed with some extremely unhealthy things, which should be eliminated.
Facial makeup must be creative - although there are certain formulas for facial makeup, actors can create their own personal expression techniques based on their experience of the role. Mr. Hao Shoushen and Mr. Hou Xirui are both famous for playing Cao Cao, but their Cao Cao facial makeup has different looks. Mr. Hou Xirui's "Battle at Wancheng" Cao Cao has a cunning look on his face. Mr. Hao Shoushen's "The Meeting of Heroes" depicts Cao Cao, but there is a sense of triumph in his cunning. These two facial masks of Cao Cao, combined with his facial expressions and movements, vividly depict Cao Cao's mental state at that time. Therefore, although the facial makeup of Jingjiao has a certain formula, it cannot be described in a rigid way. A good actor can make facial makeup come alive according to his or her own face shape, combined with facial expressions and muscle movements. In this way, it not only does not hinder the actor's expression, but also helps the actor's expression. Only by creatively mastering this makeup method can we create an artistic image with a distinctive personality.
The beard mouth of the net horn - the beard mouth where the net horn is hung, there are long beards and short beards. Long beards include full beards, tied beards, beards with a beard, subchin beards, and Liu Tang beards. There are several types of short beards, such as one-word beard and curly beard.
The full beard is longer and thicker than the full beard hung by raw horns. There are black fulls, ginseng fulls, white fulls and purple fulls. Like Cao Cao in "The Gathering of Heroes", Xiang Yu in "Farewell My Concubine", and Ma Su in "The Lost Street Pavilion" all wear black beards. Zhao Gao from "Universal Frontier" and Gao Wang from "Muhu Pass" are both full of ginseng. Huang Gai from "The Gathering of Heroes" and Xu Yanzhao from "Second Entry into the Palace" are both covered in white. Sun Quan in "Ganlu Pavilion" is decorated with purple flowers. There is also a kind of Liu Tang beard, which is a full black beard with two strands of red beard (with red ear hair) on both sides. It is used to play the red-haired ghost Liu Tang.
Tie beard, also known as open beard, is a beard that exposes the mouth and is worn to play a brave martial arts character. There are four types: black tie, red tie, ginseng tie, and white tie. (Shen Zha and Bai Zha are no longer common) Zhang Fei in "Changban Slope" and Li Kui in "Nao Jiangzhou" both wear black beards. People with red beards are very exaggerated, and most of them play fierce martial arts characters and gods and monsters. For example, Ma Wu in "Taking Luoyang" (with a blue face) and Shan Xiongxin (with a green face in "Lock the Five Dragons") both wear red beards. Characters such as Wen Tianjun (with a green and golden face) in "Havoc in Heaven" and the Bull Demon King (with a red and golden face) in "The Banana Fan" all wear red beards. Characters who originally wore black beards, like in Zhang Fei's "Making a White Robe", changed to wearing black beards because of their old age.
(Shenzha and Baizha are no longer common in Peking Opera)
The chin-tao beard (also known as Haixiatao) hangs the beard under the chin and exposes the mouth. For example, the giant spirit god in "Havoc in Heaven" wears a black chin and beard, and Wang Bochao in "Jiepaiguan" wears a white chin and beard.
The short beards hanging in the net corner of Peking Opera are commonly seen with one-character beards and curly beards. One-character beard is shortened to one word, including black one, red one and white beard (white beard is rare now). Like Yang Yande in "Golden Beach" and Ma Han in "The Beauty Case", they should wear a black beard. Wang Ying in "Taihang Mountain" (with a yellow face) wears a red beard. Fahai in "Jinshan Temple" always wears a white beard. The beard is a curly short beard, worn by monks who perform martial arts, like Lu Zhishen in "Wild Boar Forest".
Characteristics of Harlequin Facial Makeup
Harlequins play a very important role on the opera stage. The characters played in this profession are multi-faceted: there are funny old people, and there are also innocent and lively children (like the shepherd boy in "Little Cowherd"). There are evil-doing officials (like the big boss in "The Noodle Vat"), and there are profit-seeking businessmen (like the shopkeeper in "Liansheng Store"). There are slaves who bully others (like Yan Xia in "The Beating of Yan Song"), and there are villains who frame good people (like Tang Qin in "A Handful of Snow") and so on. If these positive or negative characters are played in other professions, it is generally difficult to fully portray the mental outlook of the characters in the play. Harlequins portray characters with different identities, personalities, and qualities. They all have distinctive artistic characteristics in appearance and performance.
The facial makeup of a clown usually uses the expansion or contraction of white areas, focusing on depicting the facial expressions of the eyebrows, eyes, nose and mouth. (There are also those wearing blackface). This comic-based makeup art is closely integrated with the clown's performance style.