Features of Peking Opera:
The stage art of Peking Opera has formed a system through the long-term stage practice of countless artists in various aspects such as literature, performance, music, singing, gongs and drums, makeup, facial makeup, etc. A set of metrical and standardized programs that restrict and complement each other. As an artistic means of creating stage images, it is very rich, and its usage is very strict. If we cannot master these programs, we will not be able to complete the creation of Peking Opera stage art. Since Peking Opera entered the court when it was first formed, its development was different from that of local operas. It is required to express a wider range of life, create more types of characters, have stricter requirements for the comprehensiveness and integrity of its skills, and have higher aesthetic requirements for creating stage images. Of course, at the same time, its folk and rustic flavor is correspondingly weakened, and its simple and rough style characteristics are relatively weak. Therefore, its performance art tends to be a combination of virtual and real expression techniques, which transcends the limitations of stage space and time to the greatest extent, in order to achieve the artistic realm of "conveying spirit through form, and combining form and spirit". The performance is required to be exquisite and delicate, and every aspect is dramatic; the singing is required to be melodious, euphemistic, and full of emotion; martial arts does not rely on fiery and bravery to win, but "martial arts, literature and singing" are best.
Characteristics of Huangmei Opera:
The main categories of Huangmei Opera include coloratura and Heping Ci. Its characteristics are: coloratura mainly performs small plays, rich in the flavor of life and folk songs. Pingci is the main singing style in the original opera. It often uses long paragraphs of narrative and lyrical expressions, and has rich charm, like flowing clouds and flowing water.
Features of Tibetan opera:
Basically it is a square opera, and a few also have stage performances.
Singing and dancing are the outstanding features of Tibetan opera. However, dance is often not directly related to the plot, and is mainly used to enhance the atmosphere of the performance.
In addition, performing arts are relatively simple and simple. Because many characters are performed wearing masks, actors pay less attention to facial expressions and there is less communication between characters.
Finally, the performance time can be as long as three days and three nights, or even six or seven days, or as short as two or three hours, all controlled by the actor.
Introduction to Peking Opera:
Peking Opera, once called Ping Opera, is one of the five major types of Chinese opera. Its tune is mainly Xipi and Erhuang, and it is accompanied by Huqin, gongs and drums. It is regarded as The quintessence of China.
Since the 55th year of Qianlong’s reign in the Qing Dynasty (1790), the four major Anhui troupes, namely Sanqing, Sixi, Chuntai and Hechun, which were originally performed in the south, have successively entered Beijing. Together with the troupes from Hubei, they The Han opera artists cooperated, and at the same time accepted some repertoires, tunes and performance methods of Kun Opera and Qin Opera, and also absorbed some local folk tunes. Through continuous exchanges and integration, Peking Opera was finally formed. After its formation, Peking Opera began to develop rapidly in the Qing court until the Republic of China achieved unprecedented prosperity.
Peking Opera is an important means of interpreting and spreading Chinese traditional culture. The distribution area is centered in Beijing and spread throughout China.
Introduction to Huangmei Opera:
Huangmei Opera, formerly known as Huangmei Diao or Tea Picking Opera, is one of the five major types of Chinese opera. It is also one of the four outstanding opera types in Anhui, alongside Hui Opera, Lu Opera and Sizhou Opera.
Huangmei Opera originated from the tea-picking opera in Huangmei area at the junction of Hubei, Anhui and Jiangxi provinces. In the late Qing Dynasty, it was introduced to neighboring Huaining County, Anhui Province and other areas. It was combined with local folk art and sung and recited in Anqing dialect, gradually developing into a new type of opera. It was once called "Huaiqiang" and "Wan Opera".
Introduction to Tibetan Opera:
The Tibetan name of Tibetan Opera is "Ajilam", which means "Fairy Sisters". It is said that Tibetan opera was first performed by seven sisters, and the content of the play is mostly mythical stories from Buddhist scriptures, hence the name.
Tibetan opera originated from Tibetan religious art in the 8th century. In the 17th century, it was separated from the religious rituals in monasteries and gradually formed a life-oriented performance that was mainly based on singing and combined with basic procedures such as singing, chanting, dancing, expression, speaking and skills.
The singing tune of Tibetan opera is high-pitched and vigorous, and the music is basically determined by the person, and each line of singing is supported by a human voice.