So much noise, and so much confusion. Yet is it not true to life that when we think and reflect we have to lift our thoughts above the din of worldly noise?"Noise" may very well be the word used to describe the music of jing ju by one unfamiliar with the art. With the loud clanging of the gong, sharp rattle of the flat drum, dull clicking beat of the wooden castanets, and piercing sound of the Beijing violin, the music of Beijing opera is rightly described by author James R. Brandon as "strongly rhythmic, often of ear-splitting intensity." The music of Beijing opera is a complex and exciting composition of sounds to which no other music can be compared.
There is so much imagination and so little of reality. So many of the actions are symbolic and so few of the properties are real. All performers must undergo basic skills training. Without this training, we would not know how to stand, how to sit, or even how to move our hands. Your legs, hands, and face are all trained. [Chen Chao Hong, Shanghai, 1994]Throughout the world actions on stage are not supposed to be exactly the same as those in daily life, but in Chinese operas the difference is said to be more striking than in the plays of any other country. In Beijing opera, mime is used extensively to suggest a physical world beyond the person of the actor. Just as opera characters fall into separate and specific categories, so do the pantomimed movements of each character on stage. These movements are performed according to traditional formulas-there is little "interpretation" done by the performer. Every action must be done strictly according to the musical tempo.
Jing ju, you know, is an ancient Chinese tradition. Performers play ancient people, [and] wear clothes from the Qing dynasty. [Interview with Professor Chen Chao, Cultural Revolution survivor].What sets and props may lack in visual brilliance and shine, jing ju costumes more than compensate. The costumes of Beijing opera are bright in color, light-reflecting in material, and often catch the attention of the audience with the suspension of small, moving metal ornaments.
Faces are painted with red, black, white, green, and gold, and add their color characterization to the spectacle.Operatic face painting is traditionally used to portray supernatural beings, "crafty" people, and characters not easily identified due to their spiritual or changing nature. As mentioned earlier, face paints are said to have been used by a military leader to instill fear in his enemies as well.
Opera face painting serves not only the purpose of enhancing the beauty of a performance, but symbolizes the nature of characters: Simple, uncomplicated patterns indicate characters of high position or strong nature, because such a person would have a serious and imperturbable face. A "hot-headed" character or person of lower intellect has less control over facial expressions, and is therefore portrayed with a more complicated and uncomposed appearance. CONTINUE-->