京剧，也称“皮黄”，由“西皮” 和“二簧”两种基本腔调组成它的音乐素材，也兼唱一些地方小曲调（如柳子腔、吹腔等）和昆曲曲牌。它形成于北京，时间是在1840年前后，盛行于20世纪三、四十年代，时有“国剧”之称。现在它仍是具有全国影响的大剧种。它的行当全面、表演成熟、气势宏美，是近代中国戏曲的代表。 中国京剧是中国的“国粹”，已有200年历史。京剧之名始见于清光绪二年（1876）的《申报》，历史上曾有皮黄、二黄、黄腔、京调、京戏、平剧、国剧等称谓，清朝乾隆五十五年（1790年）安徽四大徽班进京后与北京剧坛的昆曲、汉剧、弋阳、乱弹等剧种经过五、六十年的融汇，衍变成为京剧，是中国最大戏曲剧种。其剧目之丰富、表演艺术家之多、剧团之多、观众之多、影响之深均为全国之冠。京剧是综合性表演艺术。即唱（歌唱）、念（念白）、做（表演）、打（武打）、舞(舞蹈)为一体、通过程式的表演手段叙演故事，刻划人物，表达"喜、怒、哀、乐、惊、恐、悲"的思想感情。角色可分为：生（男人）、旦（女人）、净（粗犷威猛的男人，别称花脸）、丑（男、女人皆有）四大行当。人物有忠奸之分、美丑之分、善恶之分。各个形象鲜明、栩栩如生。国家非常重视非物质文化遗产的保护，2006年5月20日，京剧经国务院批准列入第一批国家级非物质文化遗产名录。
【发展简史】
一、孕育期
徽秦合流 清初,京城戏曲舞台上盛行昆曲与京腔(弋阳腔)。乾隆中叶后,昆曲渐而衰落,京腔兴盛取代昆曲一统京城舞台。乾隆四十五年(1780年)秦腔艺人魏长生由川进京。魏氏搭双庆班演出秦腔《滚楼》、《背娃进府》等剧。魏长生扮相俊美,噪音甜润,唱腔委婉,做工细腻,一出《滚楼》即轰动京城。双庆班也因此被誉为“京都第一”。自此,京腔开始衰微,京腔六大名班之大成班、王府班、余庆班、裕庆班、萃庆班、保和班也无人过问, 纷纷搭入秦腔班谋生。乾隆五十年(1785年),清廷以魏长生的表
演有伤风化,明令禁止秦腔在京城演出,将魏长生逐出京城。
乾隆五十五年(1790年),继三庆徽班落脚京城后(班址位于韩家台胡同内),又有四喜、启秀、霓翠、春台、和春、三和、嵩祝、金钰、大景和等班,亦在大栅栏地区落脚演出。其中以三庆、四喜、和春、春台四家名声最盛,故有“四大徽班”之称。‘春台班’进京时间,按汉调名家米应先于乾隆末年,在京曾担任‘春台班’台柱时始,证明该班进京时间早于‘四喜’和‘和春’。‘春台班’位于百顺胡同。‘四喜班’于嘉庆初来京。徽戏、昆曲兼演、尤以昆曲为著,故有“新排一曲桃花扇,到处哄传四喜班”之语。该班位于陕西巷内。‘和春班’于嘉庆八年(1804年) 于李铁拐斜街组建。该班以武戏见长。道光十三年(1853年)解散。“四大徽班”的演出剧目,表演风格,各有其长,故时有“三庆的轴子,四喜的曲子、和春的把子、春台的孩子”之誉。“四大徽班”除演唱徽调外,昆腔、吹腔、四平调、梆子腔亦用,可谓诸腔并奏。在表演艺术上广征博采吸取诸家剧种之长,融于徽戏之中。兼之演出阵容齐整,上演的剧目丰富,颇受京城观众欢迎。自魏长生被迫离京,秦腔不振,秦腔艺人为了生计,纷纷搭入徽班, 形成了徽、秦两腔融合的局面。在徽、秦合流过程中,徽班广泛取纳秦腔的演唱、表演之精和大量的剧本移植,为徽戏艺术进一步发展,创造了有利条件。
徽汉合流 汉剧流行于湖北,其声腔中的二黄、西皮与徽戏有着血缘关系。徽、汉二剧在进京前已有广泛的艺术交融。继乾隆末年,汉剧名家米应先进京后,道光年初 (1821年),先后又有著名汉剧老生李六、王洪贵、余三胜,小生龙德云等入京,分别搭入徽班春台、和春班演唱。米应先以唱关羽戏著称,三庆班主程长庚的红净戏,皆由米应先所授。李六以《醉写吓蛮书》、《扫雪》见长;王洪贵则以《让成都》、《击鼓骂曹》而享名;小生龙德云善演《辕门射戟》、《黄鹤楼》等剧;余三胜噪音醇厚,唱腔优美,文武兼备,以演《定军山》、《四郎探母》、《当锏卖马》、《碰碑》等老生剧目著称。汉剧演员搭入徽班后,将声腔曲调,表演技能,演出剧目溶于徽戏之中,使徽戏的唱腔板式日趋丰富完善,唱法、念白更具北京地区语音特点,而易于京人接受。道光二十五年(1845年)各大名班,均为老生担任领班。徽、汉合流后,促成了湖北的西皮调与安徽的二簧调再次交流。徽、秦、汉的合流,为京剧的诞生奠定了基础。
二、形成期
道光二十年至咸丰十年(1840年-1860年)间,经徽戏、秦腔、汉调的合流,并借鉴吸收昆曲、京腔之长而形成了京剧。其标志之一:曲调板式完备丰富,超越了徽、秦、汉三剧中的任何一种。唱腔由板腔体和曲牌体混合组成。声腔主要以二簧、西皮为主;之二,行当大体完备;之三,形成了一批京剧剧目;之四,程长庚,余三胜、张二奎为京剧形成初期的代表,时称“老生三杰”、“三鼎甲”即:“状元”张二奎、“榜眼” 程长庚、“探花”余三胜。他们在演唱及表演风格上各俱特色,在创造京剧的主要腔调西皮、二簧上和京剧戏曲形式上,以及具有北京语言特点的说白、字音上,做出了卓越贡献。第一代京剧演员中,尚有老生卢胜奎、薛印轩、张汝林、王九龄等;小生龙德云、徐小香;旦胡喜禄、罗巧福、梅巧玲:丑杨鸣玉、刘赶三;老旦郝兰田、谭志道;净朱大麻子,任花脸等,他们为丰富各个行当的声腔及表演艺术,均有独特创造。后任‘四喜班’班主的梅巧玲,勇于突破青衣、花旦的严格分工旧规,为旦角的演唱艺术开辟了一条新路。
《同光名伶十三绝》是京剧史上的一幅名伶彩色剧装写真画，由晚清民间画师沈蓉圃绘制。他参照了清代中叶画师贺世魁所绘《京腔十三绝》戏曲人物画的形式，挑选了清同治、光绪年间（l860至1890）京剧舞台上享有盛名的十三位演员，用工笔重彩把他们扮演的剧中人物描绘出来，显示了作者的深厚功力。此画于民国三十二年(1943年)，由进化社朱复昌在书肆收购,经缩小影印问世,并附编《同光名伶十三绝传》一册。
三、 成熟期
1883年一1918年,京剧由形成期步入成熟期,代表人物为时称“老生后三杰”的谭鑫培、汪桂芬、孙菊仙。其中谭鑫培承程长庚、余三胜、张二奎各家艺术之长,又经创造发展,将京剧艺术推进到新的成熟境界。谭在艺术实践中广征博采,从昆曲、梆子、大鼓及京剧青衣、花脸、老旦各行中借鉴,融于演唱之中,创造出独具演唱艺术风格的“谭派”，形成了“无腔不学谭”的局面。二十年代后的余叔岩、言菊朋、高庆奎、马连良等,均在宗“谭派”的基础上发展为各自不同的艺术流派。汪桂芬,艺宗程长庚,演唱雄劲沉郁,悲壮激昂，腔调朴实无华,有“虎啸龙吟”的评道, 他因“仿程可以乱真”,故有“长庚再世”之誉。孙菊仙,18岁时选中武秀才,善唱京剧,常入票房演唱,36岁后投师程长庚。他噪音宏亮,高低自如。念白不拘于湖广音和中州韵,多用京音、京字,听来亲切自然。表演大方逼真,接近生活。“老生后三杰”师承各有侧重,艺术风格各异,从全面权衡,谭鑫培文武昆乱不挡,艺术造诣及对京剧的发展,远远超过汪、孙。光绪年间,谭鑫培被称之为“伶界大王”,在剧界地位,如当年之程长庚。咸丰十年(1861年)京剧始入宫廷演出。当年五月初六起至月末,分由三庆班、四喜班、双奎班及外班(京剧班)演出。光绪九年(1883年),慈禧五旬寿日,挑选张淇林、杨隆寿、鲍福山、彩福禄、严福喜等18人入宫当差,不仅演唱,且当京剧教习,向太监们传授技艺。自此,清宫掌管演出事务的机构“升平署”,每年均选著名艺人进宫当差,结止宣统三年(1911年)，计有谭鑫培、杨月楼、孙菊仙、陈德霖、王楞仙、杨小楼、余玉琴、朱文英、王瑶卿、龚云甫、穆凤山、钱金福等生、旦、净、丑的名家 150余人曾入宫。由于慈禧嗜好京剧,加之京剧名家频繁在宫中献艺,声势日强。同期,位于大栅地区的广德楼、三庆园、庆乐园、中和园、文明园等戏园、日日有京剧演出,形成了京剧一统的局面。京剧成熟期,除“老生后三杰”外,生行尚有许荫棠、贾洪林;武生俞菊笙、杨隆寿;净行何佳山、黄润甫、金秀山、裘桂仙、刘永春等;小生王楞仙、德珺如、陆华云:旦行陈德霖、田桂凤、王瑶卿、朱文英;丑行王长林、张黑、罗百岁、萧长华、郭春山。这一时期,旦角的掘起,形成了旦角与生角并驾齐驱之势。武生俞菊笙,开创了武生自立门户挑梁第一人,他被后人称为“武生鼻祖”。上述名家,在继承中有创新发展,演唱技艺日臻成熟, 将京剧推向新的高度。
四、鼎盛期
1917年以来,京剧优秀演员大量涌现,呈现出流派纷呈的繁盛局面,由成熟期发展到鼎盛期,这一时期的代表人物为杨小楼、梅兰芳、余叔岩。由于文人崇尚的雅文化传统在20世纪遭遇灭顶之灾，京剧达到了它的全盛时期。
1927年,北京《顺天吋报》举办京剧旦角名伶评选。读者投票选举结果:梅兰芳以演《太真外传》,尚小云以演《摩登伽女》,程砚秋以演《红拂传》,荀慧生以演《丹青引》,荣获“四大名旦”。 “四大名旦”脱颖而出,是京剧走向鼎盛的重要标志。他们创造出各具特色的艺术风格,形成了梅兰芳的端庄典雅,尚小云的俏丽刚健,程砚秋的深沉委婉,荀慧生的娇昵柔媚“四大流派”,开创了京剧舞台上以旦为主的格局。武生杨小楼在继俞菊笙、杨月楼之后,将京剧武生表演艺术发展到新高度,被誉为“国剧宗师”、“ 武生泰斗”。老生中的余叔岩、高庆奎、言菊朋、马连良,20年代时称“四大须生”。同期的时慧宝、王凤卿、贯大元等也是生行中的优秀人才。30年代末、余、言、高先后退出舞台,马连良与谭富英、奚啸伯、杨宝森称之“四大须生”。女须生孟小冬,具有较高艺术造诣,颇有乃师余叔岩的艺术风范。
1936年秋,北京大、中学校爱好京剧者及广大观众给各报写信,倡议进行京剧童伶选举。时富连成社社长叶龙章与北平《立言报》社长金达志商妥,由该报发表通告,专门接待各界投票,逐日在报上发表投票数字,并约请“韵石社”几人来报社监督。规定投票日期为半月,到期查点票数中华戏曲学校和富连成社负责人及《实报》、《实事白话报》、《北京晚报》、《戏剧报》亦派人当场查验票数。选举结果,富连成社李世芳得票约万张,当选“童伶主席”。生部冠军王金璐,亚军叶世长;旦角冠军毛世来,亚军宋德珠;净角冠军裘世戎,亚军赵德钰;丑角冠军詹世甫,亚军殷金振。选举结束后,于虎坊桥富连成社举行庆祝大会,并于当晚在鲜鱼口内华乐戏院举行加冕典礼,由李世芳,袁世海演出了《霸王别姬》。
童伶选举结束后,仍由《立言报》主持,选出李世芳、张君秋、毛世来、宋德珠为“四小名旦”，“四小名旦”联抉于长安、新新两家戏院演出了《白蛇传》和《四五花洞》,以示祝贺。
流派纷呈,人才济济,是京剧鼎盛期的又一标志。这一时期除杨派(小楼),梅派(兰芳)、尚派 (小云)、程派(砚秋)、荀派(慧生)外,旦角中还有筱派(翠花)及宋派(德珠)、张派(君秋);老生行中的余派(叔岩)、高派(庆奎)、言派(菊朋)、马派(连良)、奚派(啸伯)、杨派(宝森)、新谭派(富英);净行中的金派(少山)、侯派(喜瑞)、郝派(寿臣)以及50年代后产生的裘派(盛戎);小生行中的姜派(妙香)、叶派(盛兰);老旦行中的龚派(云甫)、李派(多奎);丑行中的叶派(盛章)等。同期尚有众多京剧表演艺术家,如生行中的王凤卿、时慧宝、王又宸、李洪春、谭小培、李万春、李少春、高盛麟等;旦行中的阎岚秋、徐碧云、朱琴心、赵桐珊、雪艳琴、新艳秋、章遏云、金少梅、碧云霞、琴雪芳、王玉蓉、言慧珠、童芷苓、梁小鸾、吴素秋、赵燕侠、杜近芳等;小生中的金仲仁、茹富兰、程继先;丑行中的郭春山、慈瑞泉、马富禄、张春华等。
徽商之班
徽州商人富甲一方，商业的成功引发了文化消费欲望的高涨。随着社会经济的发展和戏曲声腔昆山腔的兴起，纷纷蓄养家班，角色斗艺，并卖力为乾隆下江南收集声色歌舞，不惜重金包装徽剧色艺，客观上为徽剧进京创造了条件。雄霸明清商界500余年的徽州商帮以盐商出名，黄山歙县的盐商尤其出名，富甲一方。随着社会经济的发展和戏曲声腔昆山腔的兴起，江南江北文人士大夫和富商巨贾纷纷蓄养家庭戏班。已经在外地商界崭露头角的徽商也纷纷效仿。长期为某个徽州商人所养所用的戏曲班社就被外人称为“徽班”。徽商广蓄家班，安徽沿江一带、包括古徽州的地方戏事也开始兴盛。他们唱昆腔，由于语言的差异而不“谐吴音”，不经意间唱出了一点“地方风味”。于是在青阳腔的影响下，唱出了安徽调 ——“徽昆”，后发展为二簧腔。尤以诞生在安徽安庆市怀宁县的石牌调最著名。徽州艺人带着乡音下扬州，得到了徽商们的亲情惠顾和重金扶持。他们或出没于码头街肆，或为徽商富贾所容留。技艺得到发展，乡音也渐占上风。这时徽班的概念已不完全是“徽商之班”，而开始有了徽调（石牌腔，乱弹调）的含义。
值得一提的是，歙县大盐商江春，是一位品味极高的戏曲鉴赏家，他酷爱戏曲，家中常常“曲剧三四部，同日分亭馆宴客，客至以数百计”。他把各种名角聚在一起，又让不同声腔同台互补，使异军突起的徽班具有了博采众长的开放格局。“乱弹”乱唱，红火异常。这时最叫彩的是来自安庆的戏曲艺人，清李斗在《扬州画舫录》中就这样写道：安庆色艺最优，盖于本地乱弹，故本地乱弹间有聘之入班者。徽商在商界进一步站稳了脚跟，他们和戏曲艺术的关系也越来越密切。而涌现出大批戏曲家的“徽班”，也在新的历史条件下得到了进一步的发展。
“无石不成班”
石牌是安庆市怀宁县一个古老的集镇，“无石不成班”的“石”即指这里，也泛指安庆及其所属各县。至清中叶，石牌已成为远近闻名的商业中心，拥有商家三千、帆船千艘。江西、福建、湖北等地客商纷纷在此设馆驻节。当时的石牌除本地居民外，大都是过往船帮和商户，在生存问题变得比较轻松的时候，他们开始构建自己的市井文化。
石牌当时可供表演的戏剧舞台多达800处，不仅有戏园、戏楼，还有花戏台。戏园，在石牌镇就有3家。上镇横街的长乐大戏院可容纳观众600多人，专供徽调、皮簧班演出。戏楼通常在祠堂内。祠堂戏楼通常只唱大戏，每年做冬至节、族内有人中举、升官以及族内官绅庆寿等，都要聘戏班在戏楼演出。此外，祠堂大修落成，也必邀班唱戏以示祝贺。《都剧赋》描述：“徽班日失丽，始自石牌”。表明安庆的徽班历史上曾经出现过辉煌，很多京剧前辈名伶都是这一带的人，因而有“无石不成班”的说法。
在石牌的弹丸之地涌现出了郝天秀、程长庚、杨月楼等多位开一代风气的宗师，四大徽班进京，皇帝为安庆艺人精美绝伦的行头、装饰惊叹不已，“安庆色艺最优!”“无石(牌)不成班!”之说一时间广为流传。细心的京剧票友不难发现，京剧的唱腔中有很多字辞的发音是与北京方言不相同的，如果你对安庆地区的方言有所了解，就会发现， 这些字辞却与安庆方言里的发音一模一样。四大徽班进京之后，石牌艺人仍源源不断进京，继续充实四大徽班的演出阵容，至同治年间，石牌艺人进京几近百人。虽然当时徽班和伶工大批外流，本地徽班也同样有所发展。
安庆民国初期就有“民众”大戏院，当时全国京剧名角基本上都在此演出过，他们都带着“朝圣”的心情来安庆登台，戏剧大家曹禺到怀宁石碑镇，下车第一句话就是“我来朝圣”。京剧界老科班出来的人，不在安庆演上十天，不唱连本，在当时都被认为是没有发展前途的“角”。从安庆古镇石牌乡野间发源的徽剧，走出了古镇，走到了北京，徽班进京的辉煌历史光环至今还笼罩着古镇石牌。安庆是中国较早接受现代文明的城市之一，也是国家历史文化名城同时安庆还是享誉世界，极具地方特色的戏剧--黄梅戏的故乡。程长庚纪念馆，位于安庆潜山县,馆内珍藏三百多件珍贵的实物和图片资料，再现了京剧艺术的发起壮大此外。还有程长庚故居供戏迷瞻仰。
戏班斗艺
据史料记载，“梨园演戏，高宗（乾隆）南巡时为最盛，而两淮盐务中尤为绝出”。也就是说，官府公事演戏由两淮盐务衙门负责，两淮盐务要蓄养花、雅两部以备南巡演出大戏。雅部即昆山腔，花部为京腔、秦腔、弋阳腔、梆子腔、罗罗腔、二簧调，统称乱弹。承担具体演出任务的戏班大多是由安徽盐商出资组建的，叫内班。最初的戏班为盐商徐尚志（晋商）出资组建的老徐班，以后盐商黄元德（徽商）、张大安、汪启源（徽商）、程谦德、洪充实（徽商）、江春（徽商）等也相继组班。徽商江春自立门户组建了春台班，为了充实力量，他征聘四方名旦如苏州的杨八官、安庆的郝天秀等为春台班台柱。郝天秀的表演柔媚动人，直令观众销魂，人称“ 坑死人”。秦腔名角魏长生擅演花旦，来扬州投靠江春。江春对魏长生极其敬重，演戏一出，赠白银一千两。这些名角的加盟，极大地推动了当时扬州京、秦等腔的互相融合、吸收，进一步促进了花部的发展。 三庆班的高朗亭、春台班的郝天秀都是以“安庆花部合京、秦二腔”享誉江南的。扬州盐商为演出需要，还聘请了一些精于词曲的名家，提供优厚的条件，长期供养他们。 大洪班和春台班更是“聚众美而大备”。一出《桃花扇》费银16万，一出《长生殿》费银至四十余万。这种排场除清内廷，其他人实难匹敌。
苏唱街梨园
徽班进京的出发地在扬州，身怀绝技的优伶们，出发前一定要到位于苏唱街的梨园总局碰碰头，商量一下出发日程和演出剧目，并在那里一起摆个身段、甩两下水袖、扬几声珠圆玉润的歌喉。有时干脆排演几出折子戏，或是《游园》，或是《思凡》，声情并茂，婀娜多姿，那时的苏唱街，十分热闹！
苏唱街，是老扬州惟一保存下来的与戏班直接有关的街道。当年盐商徐尚志从苏州招徕昆腔艺人办起的扬州第一个昆腔班“老徐班”，就在这条街上。昆曲的老家在苏州，所以又有苏昆之称，这条小街居留过不少唱苏昆的艺人，扬州人就把它命名为苏唱街。
徽班进京
公元1790年，徽班以唱祝寿戏开始进京艺术之旅。 经过多年沧桑，在不断吸纳中，徽班“合五方之音为一致”的同时逐渐失去自己的颜色。徽班的历史结束了，而脱胎于徽班的京剧终成为享誉世界的艺术瑰宝，对于徽班来说，可谓涅盘 。
三庆班首发献艺
1790年秋，为庆祝乾隆八旬寿辰，扬州盐商江鹤亭（安徽人）在安庆组织了一个名为“三庆班” 的徽戏戏班，由艺人高朗亭率领进京参加祝寿演出。这个徽班以唱二簧调为主，兼唱昆曲、吹腔、梆子等，是个诸腔并奏的戏班。这次北京的祝寿演出规模盛大，从西华门到西直门外高粱桥，每隔数十步设一戏台，南腔北调，四方之乐，荟萃争妍。或弦歌高唱，或抖扇舞衫，前面还没有歇下，后面又已开场，群戏荟萃，众艺争胜。在这场艺术竞赛当中，第一次进京的三庆徽班即崭露头角，引人瞩目。三庆班的高朗亭是安徽安庆人，入京时才十六岁，演旦角，擅长二簧腔，技艺精湛。《目下看花记》称他：“宛然巾帼，无分毫矫强。不必征歌，一颦一笑，一起一坐，描摹雌软神情，几乎化境。”
四大徽班进京
三庆班进京获得成功后，又有四喜班、和春班、春台班等徽班进入北京，并逐渐称雄于京华的剧坛。这就是所谓的“四大徽班进京”。
四大徽班各有所长，有“三庆的轴子，四喜的曲子，和春的把子，春台的孩子”的说法，轴子指以连演整本大戏著称，曲子指擅长演唱昆曲，把子指以武戏取胜，孩子指以童伶见长。
在捧旦之风十分火爆的京城，技艺不凡的高朗亭自然受宠。抵达北京后，他接替原三庆班班主余老四掌班，一做就是30多年，同时还担任了京师戏曲界行会组织“精忠庙”的会首，通过精忠庙对北京的戏班、戏园实行行政管理，他也成为梨园领袖。继高朗亭之后，程长庚、徐小香、杨月楼、刘赶三等人均任过此职。
至嘉庆初，徽班在北京戏曲舞台上已取得主导地位，据《梦华琐簿》记载：“戏庄演剧必‘徽班’。戏园之大者，如‘广德楼’、‘广和楼’、‘三庆园’、‘庆乐园’，亦必以‘徽班’为主。下此则‘徽班’‘小班’‘西班’，相杂适均矣。”
四大徽班进京献艺，揭开了200多年波澜壮阔的中国京剧史的序幕。
在京的各声腔剧种的艺人，面对徽班无所不能、无所不精的艺术优势，无力与之竞争，多半都转而归附徽班。他们中有京师舞台各声腔剧种的名优，如加入春台班的湖北汉戏名优米喜子、李凤林，加入四喜班的湖南乱弹（皮黄）名优韩小玉，加入三庆班的北京籍京腔演员王全福等，于是就形成了多种声腔剧种荟萃徽班之势。也因此，徽班在诸腔杂奏的过程中，从“两下锅”“三下锅”到“风搅雪”，逐渐侧重皮黄戏的演出。
形成与传播
京剧前身是清初流行于江南地区，以唱吹腔、高拨子、二黄为主的徽班。徽班流动性强，与其他剧种接触频繁，在声腔上互有交流渗透，因此在发展过程中也搬演了不少昆腔戏，还吸收了啰啰腔和其他一些杂曲。清乾隆五十五年（1790），以高朗亭（名月官）为首的第一个徽班（三庆班）进入北京，参加乾隆帝八十寿辰庆祝演出。《扬州画舫录》载：“高朗亭入京师，以安庆花部，合京秦二腔，名其班曰三庆。”刊于道光二十二年（1842）的杨懋建《梦华琐簿》也说：“而三庆又在四喜之先，乾隆五十五年庚戌，高宗八旬万寿入都祝匣时，称'三庆徽'，是为徽班鼻祖。”伍子舒在《随园诗话》批注中则更具体指出是“闽浙总督伍纳拉命浙江盐商偕安庆徽人都祝厘。”随后还有不少徽班陆续进京。著名的为三庆、四喜、春台、和春四班，虽然和春成立于嘉庆八年（1803），迟于三庆十三年，但后世仍并称之为“四大徽班进京”。
乾隆、嘉庆年间，北京文物荟萃，政治稳定，经济繁荣，各剧种艺人麇集。北京舞台昆腔、京腔、秦腔三足鼎立、相互对峙。徽班到京，首先致力于“合京秦二腔”。当时秦腔、京腔基本上同台演出，“京秦不分”（《扬州画舫录》），徽班发扬其博采众长的传统，广泛吸收秦腔（包括部分京腔）的剧目和表演方法，同时继承了众多的昆腔剧目（还排演了昆腔大戏《桃花扇》）及其舞台艺术体制，因而在艺术上得到迅速提高。
徽班本身的艺术特色，是它能够在争衡中取胜的主要原因。在声腔方面，除了所唱二黄调以新声夺人而外，它“联络五方之音，合为一致”（《日下看花记》）；在剧目方面，题材广阔，形式多样；在表演方面，纯朴真切，行当齐全文武兼重，因此适合广大观众的欣赏要求。
在演出安排上，据《梦华琐簿》载，四大徽班“各擅胜场”。三庆以“轴子”取胜（连日接演新戏），四喜以“曲子”取胜（善唱昆曲），和春以“把子” 取胜（善演武戏），春台以“孩子”取胜（以童伶为号召）。在艺术和经营上备有侧重点，能够发挥专长，取得较快进展。至道光后期，徽班已在北京占据优势。《梦华琐簿》说："今乐部皖人最多，吴人亚之，蜀人绝无知名者矣。"又说："戏庄演剧必徽班。戏园之大者，如广德楼、广和楼、三庆园、庆乐园，亦必以徽班为主。"徽班成长发展的过程，也就是它向京剧擅变的过程。这一嬗变的完成，主要标志为徽汉合流和皮黄交融，形成了以西皮、二黄两种腔调为主的板腔体唱腔音乐体系，使唱念做打表演体系逐步完善。最早随同徽班进京的汉调演员是米应先（又名米喜子），湖北崇阳人（一说安徽人），生于乾隆四十五年（1780），约于嘉庆年间加入春台徽班进京演唱，演正生，擅红生戏，声望极隆（见《梦华琐簿》及李登齐《常谈丛录》）。被视为著名汉调演员余三胜的先驱（当时曲艺唱词有"亚赛当年米应先"之句）。道光年间（1821-1849），汉调演员至京加入徽班演唱的逐渐增多，著名的有王洪贵、李六。粟海庵居士《燕台鸿爪集》（约作于道光十二年以前）说："京师尚楚调。乐工中如王洪贵、李六善为新声称于时。"楚调即汉调，也就是西皮调。可见当时北京已流行西皮调，王洪贵、李六"善为新声"，又推动了西皮调的革新发展。在徽、汉演员的共同努力下，逐步实现了西皮与二黄两种腔调的交融。开始不同的剧目，根据不同的来源，分别唱西皮或二黄；后来，有些戏就兼唱西皮和二黄，甚至在同一唱段中先唱二黄，后转西皮，并能相互协调，浑然一体。《罗成叫关》（源出徽调《淤泥河》）就是一个例子。声韵方面，形成"中州韵、湖广音"的格律，字声间杂京音、鄂音，兼用北京、湖北两种四声调值，分别尖团字音，按照"十三辙"押韵。二黄的伴奏乐器，几经反复，终于在咸丰、同治年间（1851-1874）废笛,而与西皮统一使用胡琴（定弦不同），但唱吹腔时仍按徽班传统用笛伴奏。
道光末年，西皮戏大量涌现，徽班中皮黄并奏习以为常。据刊于道光二十五年的杨静亭《都门纪略》载，三庆班程长庚、四喜班张二奎、春台班余三胜和李六、和春班王洪贵等常演的剧目，如《文昭关》《捉放曹》《定军山》《击鼓骂曹》《扫雪打碗》等，与嗣后京剧舞台常见的传统剧目已大体相同，徽班向京剧的擅变到此已基本完成（虽然当时还不称京剧）。另一种说法，认为谭鑫培成名后（19世纪末、20世纪初）京剧才算形成。理由是到那时皮黄戏从音乐、表演，到唱念的字音、声韵，才具备了严格的规范；而在此以前，即程长庚时代，仍属徽调范畴。
同治六年（1867），京剧传到上海。新建的满庭芳戏园从天津约来京班，受到观众欢迎。同年，丹桂茶园通过北京的三庆班，又约来大批著名京剧演员，其中有老生夏奎章（夏月润之父）、熊金桂（熊文通之父），花旦冯三喜（冯子和之父）等。他们都在上海落户，成为以上海为中心的南派京剧世家。嗣后，更多的京角陆续南下，知名的有周春奎、孙菊仙、杨月楼、孙春恒、黄月山、李春来、刘永春以及梆子花旦田际云（响九霄）等，从而使上海成为与北京并立的另一个京剧中心。
在这之前，约在咸丰初年，上海已有昆班和徽班演出。京剧进上海后，也出现了京徽同台、京昆同台以及京梆（梆子）同台的局面。这对南方京剧特点的形成，起了重要作用。徽班杰出演员王鸿寿（三麻子）到沪后，经常参加京班演出，并把一些徽调剧目如《徐策跑城》、《扫松下书》、《雪拥蓝关》等带进了京班，把徽调的主要腔调之一"高拨子"纳入到京剧音乐里，还把徽班的某些红生戏及其表演方法吸收到京剧中。这对扩大京剧上演剧目和丰富舞台艺术起了一定作用。此外，梆子艺人田际云在上海的艺术活动，对南派京剧的发展也有所影响。他的"灯彩戏"《斗牛宫》等，实为后来"机关布景连台本戏"的滥筋。从光绪五年（1879）起，谭鑫培六次到沪，后来梅兰芳等名演员也经常到沪演出，促进了北派、南派京剧交流，加速了京剧艺术的发展。
京剧在进入上海之前，即咸丰十年（1860）之后，随商旅往来及戏班的流动演出，很快传播到全国各地。如天津及其周围的河北一带为京剧最早的传播地区之一。道光末年，余三胜即在天津活动（他和他父亲死后都葬在天津）；丑角演员刘赶三先在天津的票房活动，后来才到北京"下海"。老生演员孙菊仙也曾经是夭津的票友。山东是徽班进出北京的必经之地，山东帮商人又是北京经济活动的重要力量，因而山东很早就有京剧演出。曲阜孔府早在乾隆时就有安徽艺人入府演戏。京剧的较早流布地区还有安徽、湖北和东北三省。至20世纪初，南至闽、粤，东至浙江，北至黑龙江，西至云南，都有京剧活动。抗日战争期间，京剧在四川、陕西、贵州、广西等地也有了较大发展。
1919年，梅兰芳率剧团赴日本演出，京剧艺术首次向海外传播；1924年，他再度率剧团到日本演出，1930年，梅又率由二十人组成的剧组到美国访问演出，取得很大成功。1934年，他应邀去欧洲访问，在苏联演出，受到欧洲戏剧界的重视。此后，世界各地把京剧看成中国的演剧学派。
京剧的形成大约有150年左右。
清乾隆五十五年（1790年）江南久享盛名的徽班"三庆班"入京为清高宗（乾隆帝）的八旬"万寿"祝寿。徽班是指演徽调或徽戏的戏班，清代初年在南方深受欢迎。继此，许多徽班接踵而来，其中最著名的有三庆、四喜、春台、和春，习称"四大徽班"。他们在演出上各具特色，三庆擅演整本大戏；四喜长于昆腔剧目；春台多青少年为主的童伶；和春武戏出众。
徽调多为二黄调、高拨子、吹腔、四平调等，间或亦有西皮调、昆腔和弋腔；而汉调演员演的则是西皮调和二黄调。徽、汉两班合作，两调合流，经过一个时期的互相融会吸收，再加上京音化，又从昆曲、弋腔、秦腔不断汲取营养，终于形成了一个新的剧种--京剧。第一代京剧演员的成熟和被承认，大约是在1840年左右。
京剧从产生以来曾经有过许多名称。计有：乱弹、簧调、京簧、京二簧、皮簧（皮黄）、二簧（二黄）、大戏、平剧、旧剧、国剧、京戏、京剧等。
【艺术特色】
京剧舞台艺术在文学、表演、音乐、唱腔、锣鼓、化妆、脸谱等各个方面，通过无数艺人的长期舞台实践，构成了一套互相制约、相得益彰的格律化和规范化的程式。它作为创造舞台形象的艺术手段是十分丰富的，而用法又是十分严格的。不能驾驭这些程式，就无法完成京剧舞台艺术的创造。由于京剧在形成之初，便进入了宫廷，使它的发育成长不同于地方剧种。要求它所要表现的生活领域更宽，所要塑造的人物类型更多，对它的技艺的全面性、完整性也要求得更严，对它创造舞台形象的美学要求也更高。当然，同时也相应地使它的民间乡土气息减弱，纯朴、粗犷的风格特色相对淡薄。因而，它的表演艺术更趋于虚实结合的表现手法，最大限度地超脱了舞台空间和时间的限制，以达到“以形传神，形神兼备” 的艺术境界。表演上要求精致细腻，处处入戏；唱腔上要求悠扬委婉，声情并茂；武戏则不以火爆勇猛取胜，而以“武戏文唱”见佳。
【行当分类】
京剧行当的划分，除依据人物的自然属性（性别、年龄）和社会属性（身份、职业）外，更主要的是按人物的性格特征和创作者对人物的褒贬态度不同而异。
行当划分由来已久，对京剧划分行当影响最大的，当数汉剧。汉剧共分为10种行当：一末、二净、三生、四旦、五丑、六外、七小、八贴、九夫、十杂。这十种行当所扮演角色的内容，大概是这样：末是主要的男性角色，就是京剧里边的生行；净与京剧里的净是一样的，指的是花脸；旦就是京剧里的旦，指的是女角色；贴，是贴旦的简称，京剧在早期划分行当，也包括贴旦在内，指的是比较次要的旦行角色，俗称二旦，例如现在京剧《红娘》里扮演莺莺小姐的，就是贴旦。夫，扮演车夫、轿夫、马童、衙役一类角色。总的说来，汉剧的这十种行当，划分得比较细致，为京剧划分行当，打下了基础。京剧后来划分为生、旦、净、丑四大类型，似乎比较简化精练，但每个大类之中，又包含若干小类，所以实际上是把这十种行当都包括在内了。不仅包括在内，而且更为细密严谨。唯一不同的是汉剧虽然有了生行，可他的主要行当是末，而不是生。发展到京剧，生行就成为主要行当了。
【人物化妆】
中国传统戏曲的脸谱，是演员面部化妆的一种程式。一般应用于净、丑两个行当，其中各种人物大都有自己特定的谱式和色彩，借以突出人物的性格特征，具有“寓褒贬、别善恶”的艺术功能，使观众能目视外表，窥其心胸。因而，脸谱被誉为角色“心灵的画面”。
脸谱的演变和发展，不是某个人凭空臆造的产物，而是戏曲艺术家们在长期艺术实践中，对生活现象的观察、体验、综合，以及对剧中角色的不断分析、判断，作出评价，才逐步形成了一整套完整的艺术手法。
据史料记载，脸谱系由唐朝乐舞大面（传统戏曲角色行当之一，是京剧和某些地方戏中净的别称）所戴面具和参军戏副净的涂面逐渐演变而来。
中国戏曲理论家翁偶虹曾撰文说：“中国戏曲脸谱，胚胎于上古的图腾，滥觞于春秋的傩祭，孽乳为汉、唐的代面，发展为宋、元的涂面，形成为明、清的脸谱。在戏曲形成之后，脸谱与面具仍然交替使用。最明显的贵州的‘地戏’，江西、安徽的‘傩戏’，西藏的‘藏戏’，无论生旦净丑，都戴面具，每剧多至百余，少者亦须数十。‘南昆’里的神仙鬼怪，一般均戴面具，并不勾画脸谱。京剧是具有全国性的大剧种，大量发展脸谱，可是加官、财神、魁星、土地、雷公，仍戴面具。从脸谱、面具的混合使用与脸谱谱式的由简至繁，可以看出中国戏曲累递发展的轨迹。”
京剧脸谱与京剧表演艺术一样，是和演员一起出现在舞台上的活的艺术。京剧在中国戏曲史上，虽只有二百余年的历史，但与其他戏曲相比，它发展快，流传广，深受人民群众的喜爱，有广泛的群众基础。因此，京剧脸谱在中国戏曲脸谱中具有特殊的地位。
京剧脸谱是一种写意和夸张的艺术，常以蝙蝠、燕翼、蝶翅等为图案勾眉眼面颊，结合夸张的鼻窝、嘴窝来刻画面部的表情。开朗乐观的脸谱总是舒眉展眼，悲伤或暴戾的脸谱多是曲眉合目。勾画时以“鱼尾纹”的高低曲直来反映年龄，用“法令纹”的上下开合来表现气质，用“印堂纹”的不同图案象征人物性格。 京剧脸谱
京剧脸谱，是具有民族特色的一种特殊的化妆方法。由于每个历史人物或某一种类型的人物都有一种大概的谱式，就像唱歌、奏乐都要按照乐谱一样，所以称为“脸谱”。关于脸谱的来源，一般的说法是来自假面具。
京剧脸谱，是根据某种性格、性情或某种特殊类型的人物为采用某些色彩的。红色的脸谱表示忠勇士义烈，如关羽、妾维、常遇春；黑色的脸谱表示刚烈、正直、勇猛甚至鲁莽，如包拯、张飞、李逵等；黄色的脸谱表示凶狠残暴，如宇文成都、典韦。蓝色或绿色的脸谱表示一些粗豪暴躁的人物，如窦尔敦、马武等；白色的脸谱一般表示奸臣、坏人，如曹操、赵高等。
京剧脸谱的色画方法，基本上分为三类：揉脸、抹脸、勾脸。脸谱最初的作用，只是夸大剧中角色的五官部位和面部的纹理，用夸张的手法表现剧中人的性格、心理和生理上的特征，以此来为整个戏剧的情节服务，可是发展到后来，脸谱由简到繁、由粗到细、由表及里、由浅到深，本身就逐渐成为一种具有民族特色的、以人的面部为表现手段的图案艺术了。
【发音技巧】
（1）真嗓亦名大嗓、本嗓。京剧演员发音方法之一。演唱时，气从丹田而出，通过喉腔共鸣，直接发出声来，称为真嗓。用真嗓发出的声音称真声。如丹田气经过喉腔时，演员将喉腔缩小，使之发出比真嗓较高的音调，则称为假嗓。真嗓与假嗓在行腔时衔接自然，不露痕迹，就能使音域宽广，高低音运转自如。京剧的生行（老生、武生、红生）、净行、丑行、老旦等行当，在演唱时均用真嗓。小生演唱用假嗓，但念白则用真假嗓结合。
（2）假嗓亦名小嗓、二本嗓。京剧演员发音方法之一。系与真嗓、大嗓、本嗓相对而言。用假嗓发出的声音称假声。发声时，与真嗓相比喉孔缩小，部位抬高，气流变细。假嗓发音的音调较真嗓为高。京剧的旦角、小生的演唱均用假嗓，但二者声音的刚柔力度有所不同。
（3）左嗓，京剧声乐名词。主要指男声中一种不正常的嗓音，能高而不能低，另外声音刚而扁，圆润不足，有些专唱高调门的老生或武生，即以此嗓演唱。老生嗓音有纯粹左嗓，亦有本嗓而略带左者。另外，左嗓有时亦用作另一解释，指嗓音与伴奏乐器不合，即一般所谓的不搭调。
（4）吊嗓亦作调嗓。京剧演员的练唱方法，也是演员唱功锻炼的步骤之一。演员每天除喊嗓、念白外，还须用胡琴（或加鼓板等）伴奏，大声练唱戏中的唱段。有的先用一般调门，然后适当升高。吊嗓的作用：1。通过大声练唱，使声音符合在舞台上演唱的要求，由于不间断的锻炼，可使嗓音日益嘹亮圆润，气力充沛，口齿清晰有力，并保持耐久能力。2。熟悉伴奏，全面了解唱腔和伴奏的关系，共同掌握尺寸，解明曲意，表达曲情，使演唱与伴奏的配合达到水乳交融，进而达成艺术上的相互默契，协调整个唱段的表演风格。
（5）喊嗓，京剧演员练声方法，通过喊嗓可以锻炼各个发声部位，正确地发出各个韵母的本音。喊嗓时间一般在清晨，于空旷地区，大声喊出“唔”、“伊”、“啊”等单元音，由低而高，由高而低，反复进行。待声音舒放后，再以唱段进行练习。
（6）丹田音，又名响堂，京剧声乐名词。演员歌唱时肺部蓄足气，小腹用力，气似从丹田（人身肚脐下约三寸处谓之丹田）发出声。现在一般传统演唱戏曲练声方法，也认为丹田音最能响堂（即声音送得远，听得清）。
（7）云遮月，京剧声乐名词。这是对老生的圆润而较含蓄的嗓音的一种比喻。这种嗓音，开始听来似觉干涩，以后愈唱愈觉嘹亮动听，使人感到韵味醇厚，潜力无穷，是长期锻炼而形成的一种优美音质。谭鑫培、余叔岩的嗓音都属于这一类型。
（8）塌中，京剧声乐名词。演员在中老年时期，由于生理关系，发生失音现象，完全不能歌唱，叫做塌中。有的演员爱护嗓子，到老仍保持元音不变。用假嗓歌唱的演员，老来塌中的较多。
（9）脑后音，京剧发声的一种。又名背工音。一般发音，气从丹田而出，经过喉腔共鸣，直接发出来。脑后音虽然同样气从丹田，但发音时，喉腔稍加压缩，打开后咽壁，提高软颚，将声音送入头腔，与鼻音相聚，使声音迂回在脑后，通过头腔共鸣，发出一种含蓄浑厚的音调。脑后音发音苍劲有力，能达远闻，而近听又不觉其尖厉。老生和净角唱腔中，凡遇闭口音（如“一七辙”）的高音，多用此种唱法。旦角唱腔用脑后音者较少，程（砚秋）派唱腔有时用之。
（10）荒腔，亦作黄腔、黄调或凉调。京剧声乐名词。指演员唱曲音调不准，习惯上专指略低于调门的变音。大部分都是由于演员先天生理条件所造成，如声带变异、耳音不准等。有时也由于练声不得法所致。
（11）冒调，京剧声乐名词。指演员唱曲音调略高于规定的调门。大部分是由于先天生理条件所造成。有的是由于生理条件（如声带）临时发生故障；有时也由于练声不得法所致。
（12）走板，京剧声乐名词。指演员唱曲不符合规定的节拍。京剧唱腔中有一板三眼、一板一眼、流水板等各种不同的板槽，行腔时如背离板眼的规定，失去节拍的分寸，即谓走板。
（13）不搭调，京剧声乐名词。指演员唱曲音调或高或低，不合于规定的调门。习称跑调。
（14）气口，京剧演唱方法之一。指演员唱曲时吸气的方法。京剧各种唱腔长短不一，节奏快慢各异，演员须掌握准确吸气方法，才能唱得从容不迫，优美动听。气口包括换气、偷气两种。换气指唱腔间歇中的吸气，偷气是在乐句若断若续中吸气而不使听者觉察。
（15）换气，京剧演唱方法之一。演唱时凡遇长腔或拔高处，必先吸气，作好充分准备。换气不是停腔再唱或明显稍顿再接唱，而是在行腔吞吐字音的瞬间，乘便呼吸，蓄气待换。唱腔中在何处换气，因人而异，一般称为气口。
（16）偷气，京剧演唱方法之一。指换气时不着痕迹，在观众不觉察时偷换。如《捉放曹》中陈宫所唱“马行在夹道内我难以回马”，唱完前六字及“内”字长腔，利用“我”这一衬字向内“偷”吸一口气，以便唱足下面“难以回马”的腔，即谓之偷气。
（17）嘎调，在京剧唱腔中，凡是用突出拔高的音唱某一字时，习称嘎调。如《四郎探母》中杨延辉唱“站立宫门叫小番”一句中的“番”字，《定军山》中黄忠唱“扫明天午时三刻成功劳”一句中的“天”字等，均称嘎调。
（18）长吭，长（音掌）是增长，吭是嗓音的俗称，此处指音量。长吭好似加大音量。
（19）砸夯，比喻演员演唱似夯地基时的鼓努为力，含贬意。演员不善于掌握演唱方法，用气过头，或使蛮力，演唱（多在尾音）出现笨拙的重音，谓之砸夯。
【伴奏乐器】
京剧伴奏乐器分打击乐与管弦乐。其中，打击乐是京剧伴奏乐器中的灵魂。京剧的“唱”、“念”、“做”、“打”完全按照规定的节奏进行，“唱”要有板有眼，“念”要抑扬顿挫，“做”则是舞蹈，而舞蹈必须表现出鲜明的韵律，谁来控制、体现节奏？那就是打击乐。打击乐器有板、单皮鼓、大锣、铙、钹等，称为“ 武场”；管弦乐器有京胡、京二胡、月琴、三弦，称为“文场”。在戏曲舞台上，人物的一切行动，包括最隐秘的思想活动，都是通过舞蹈化的身段动作、音乐化的念白和演唱，并在音乐的伴奏中进行的，由各种打击乐器的音响组成的“锣鼓经”，起着极其重要的作用。有人说，如果“唱”、“念”、“做”、“打”是戏剧的血肉，那么“锣鼓经”就是它的骨骼，一阵锣鼓，既可渲染磅礴的气势，又能烘托演员的表演，并且这种对表演的烘托，是非常细致的，甚至细致到鼓点子打出演员眼珠的转动，眼皮的开阖，手指的颤抖。演员表演往往导引出感情表达需要的锣鼓，锣鼓（节奏、音响）等的刺激反过来诱发演员的表演激情。
【舞台道具】
砌末
砌未是大小道具与一些简单装置的统称，是戏曲解决表演与实物矛盾的特殊产物。砌未一词在金、元时期已有。传统戏曲舞台上的砌末包括生活用具（如烛台、灯笼、扇子、手绢、文房四宝、茶具、酒具），交通用具（如轿子、车旗、船桨、马鞭等）。武器又称刀枪把子（如各种刀、枪、剑、斧、锤、鞭、棍、棒等），以及表现环境、点染气氛的种种物件（如布城、大帐、小帐、门旗、纛旗、水旗，风旗、火旗、蛮仪器仗、桌围椅披）等。除常用的砌末之外，也可根据演出需要临时添置。
传统的砌末，是有意识地区别于生活的自然形态之物。它们不是实物的仿制品，而是实物在戏曲中的一种艺术表现。这也是砌末能够与动作、形象相结合的一个重要原因。
一桌二椅，在演员没有上场以前，桌椅只是一种抽象的摆设。如演出皇帝视朝，这张桌子便成了视朝时所需的御案；县宫坐衙，这张桌子便成了坐衙时所需的公案；朋友宴会，便成了宴会时所需要的酒席。以上是实物实用，但戏曲舞台上的桌椅还可以做代用品。比如用桌子代替山石，人要上山，就站在桌子上，如果这山很高，就用两张桌子叠起来。要跳墙，就用桌子当墙；要睡觉，将身伏在桌上，用手支住头。至于椅子所代替的就更多了。舞台上表示从矮山爬到高山去，是从椅子了再登到桌子上，椅子还可以代替窑门，代替牢门等等。桌椅无论代表什么，都是妙在似与不似之间。如戏曲中的布城虽然比较简陋，但决不追求城的真实再现。布城可以根据城的需要自由调度。
旗帜在舞台上使用很多，如正方形帅字旗、长方形三军令旗、大纛旗（古代军队里的大旗），都是表示元帅及大本营所在地的。还有水旗、火旗、风旗、车旗等等，这些旗帜是在白色方旗上绘绿色水纹、火焰、风、车轮等等。演员执旗，略微颤动，就可以表示波浪起伏、着火、起风、乘车。
戏曲舞台上并不回避"露假"，也不要求一一写实。扬鞭以代马，摇桨以代船。在舞台上有广阔的空间供演员活动，应当细致的地方尽力描绘，不必要的场面，一个圆场就过去了，这种虚拟的方法与中国戏曲的表演风格是相一致的。
【名词解释】
（1）工尺，戏曲音乐名词。泛指戏曲曲谱上曲词右侧所注音阶符号。我国传统民族音乐，以“合、四、上、尺、工、凡、六”等字作为音阶的符号，相当于西洋音乐的 “56712345”。习惯上把这些符号统称为“工尺”。有的曲谱，曲词旁只注板眼（拍子），不注工尺。有工尺的曲谱，名为工尺谱。
（2）板眼，戏曲音乐名词。传统唱曲时，常以鼓板按节拍，凡强拍均击板，故称该拍为板。次强拍和弱拍则以鼓签敲鼓或用手指按拍，分别称为中眼、小眼（在四拍子中前一弱拍称头眼或初眼，后一弱拍称末眼）。合称板眼。
（3）过门，京剧音乐名词。指在唱句与唱句之间，唱段与唱段之间的间奏音乐。唱句与唱句之间常用小过门儿，唱段与唱段之间常用大过门。但由于板式不同，亦有不少例外，并无固定模式。
（4）挂儿，京剧音乐名词。挂儿是“过儿”的谐音，专指在唱段与唱段之间的大过门，一般多指华彩的间奏音乐。在唱句与唱句之间的小过门不称挂儿。
（5）垫头，京剧音乐名词。指在乐汇与乐汇间起搭桥作用的旋律称为垫头或小垫头，亦名桥。垫头旋律较短，一般只有二、三拍，起前后衔接作用。
（6）行旋，京剧音乐名词。指在演员表演动作或对话、独白时的衬托音乐。行旋多为曲牌或简单旋律的反复演奏，主要起烘托气氛的作用。
（7）调门，指演员歌唱时的音高。凡用弦乐器伴奏，都根据演员嗓音的高度自由定调。京剧调门，一般以正宫调为适度，最高的唱乙字调，最低的凡字调，俗称趴字调。同一剧中，两个主要演员音高不同，有时互相迁就，有时临时长（提高）调门或落（降低）调门。
（8）调面，演员唱的音高与伴奏乐器（胡琴、笛子等）的音高相同，叫做调面。意思是按照“调门”的表面歌唱。调面系针对调底而言。在一般情况下，演员都唱调面。
（9）调底，演员唱的音高比伴奏乐器（胡琴、笛子等）的音高低八度，叫做调底。意思是按照调门的底音歌唱。调底系针对调面而言。京剧的某些唱腔，如娃娃调的腔调经常翻高，如将调门定高，演员嗓音不及，如将调门定低，乐器音量有过小，乃采用调底的唱法，把乐器定高八度，演员以低八度的音来歌唱。
（10）定弦，指弦乐器（胡琴、阮等）定“调门”的高低。一般都以笛子作为定弦的标准。
（11）乙字调，京剧音乐名词。工尺谱所用调门之一。定弦时，以笛子小工调的“乙”音（开启第五孔，吹高音），定胡琴的“工”音（西皮调外弦的敞弦）。乙字调为京剧的最高调门。
（12）工正调，亦作正宫调。京剧根据笛的音高定胡琴的调门，西皮外弦与笛正宫调的工音同高的称为正宫调。比正宫调高出一度的称乙字调，高出半度的称工半调，比正宫调低一度的称六字调，低半度的称六半调，低二度的俗称趴字调。
（13）工半调京剧调门之一。略高于正宫调，略低于乙字调。定弦时比照笛子的正宫调定音而略升高。
（14）软工调，京剧调门之一。略低于正宫调，而较六字调稍高。定弦时比照笛子的正宫调定音而略降低。
（15）六字调，京剧调门之一。定弦时，以笛子小工调的“六”音（六孔全闭，吹高音），定胡琴的“工”音（西皮调外弦的敞弦）。六字调为京剧中低于正工调，高低适度的调门。
（16）趴字调，亦作扒字调。京剧调门之一。凡低于六字调一度以上的统称趴字调。
（17）走边，“走边”的来源一说源于晋剧《白虎鞭·走边》中的舞蹈身段；一说是因为凡走边的人物因怕人看见而多在墙边、道边潜身夜行，故而称“走边”。一般来说，《恶虎村》的黄天霸走边最难。《夜奔》的林冲走边最累，《蜈蚣岭》的武松走边最吃功夫。
（18）趟马，由于京剧中多以马鞭来代替马，或作为骑马的象征，因此凡手持马鞭挥舞着上场后运用圆场、翻身、卧鱼、砍身、摔叉、掏翎、亮相等技巧连续做出打马、勒马或策马疾驰的舞蹈动作的组合就是京剧的趟马。
【名家大师】
京剧形成以来，涌现出大量的优秀演员，他们对京剧的唱腔、表演，以及剧目和人物造型等方面的革新、发展做出了贡献，形成了许多影响很大的流派。如老生:程长庚、余三胜、张二奎、谭鑫培、汪桂芬、孙菊仙、汪笑侬、刘鸿声、王鸿寿、余叔岩、高庆奎、言菊朋、周信芳、马连良、杨宝森、谭富英、李少春等；小生:徐小香、程继先、姜妙香、叶盛兰等；武生俞菊笙、黄月山、李春来、杨小楼、盖叫天、尚和玉、厉慧良等；旦角:梅巧玲、余紫云、田桂凤、陈德霖、王瑶卿、梅兰芳、程砚秋、荀慧生、尚小云、欧阳予倩、冯子和、筱翠花、张君秋、张火丁等、老旦龚云甫、卧云居士、李多奎、李金泉等；净角:穆凤山、黄润甫、何桂山、裘桂仙、金少山、裘盛戎等；丑角:刘赶三、杨鸣玉、王长林、萧长华等。此外还有著名琴师:孙佑臣、梅兰田、徐兰沅、王少卿、杨宝忠等；著名鼓师杭子和、白登云、王燮元等。
京剧流派：
老生·小生·武生·旦角·老旦·净角·丑角·琴师·鼓师
【京剧的特色】
特色
中国的戏曲与希腊悲剧和喜剧、印度梵剧并称为世界三大古老的戏剧文化。
历史上最先使用戏曲这个名词的是宋刘埙（1240-1319），他在《词人吴用章传》中提出“永嘉戏曲”，他所说的“永嘉戏曲”，就是后人所说的“南戏”、“戏文”、“永嘉杂剧”。从近代王国维开始，才把“戏曲”用来作为中国传统戏剧文化的通称。
戏曲是一门综合艺术，是时间艺术和空间艺术的综合，这种综合性是世界各国戏剧文化所共有的，而中国戏曲的综合性特别强。
中国戏曲是以唱、念、做、打的综合表演为中心的戏剧形式，它有丰富的艺术表现手段，它与表演艺术紧密结合的综合性，使中国戏曲富有特殊的魅力。它把曲词、音乐、美术、表演的美熔铸为一，用节奏统驭在一个戏里，达到和谐的统一，充分调动了各种艺术手段的感染力，形成中国独有的节奏鲜明的表演艺术。
中国戏曲中最重要的一点特征是虚拟性。舞台艺术不是单纯模仿生活，而是对生活原形进行选择、提炼、夸张和美化，把观众直接带入艺术的殿堂。
中国戏曲另一个艺术特徵，是它的程式性，如关门、上马、坐船等，都有一套固定的程式。程式在戏曲中既有规范性又有灵活性，所以戏曲艺术被恰当地称为有规则的自由动作。
综合性、虚拟性、程式性，是中国戏曲的主要艺术特徵。这些特徵，凝聚着中国传统文化的美学思想精髓，构成了独特的戏剧观，使中国戏曲在世界戏曲文化的大舞台上闪耀着它的独特的艺术光辉。
中国戏曲，起源于原始歌舞，是一种历史悠久的综合舞台艺术样式。它由文学、音乐、舞蹈、美术、武术、杂技以及表演艺术综合而成，约有三百六十多个种类。它的特点是将众多艺术形式以一种标准聚合在一起，在共同具有的性质中体现其各自的个性。比较著名的戏曲种类有：京剧、昆曲、越剧、豫剧、粤剧、川剧、秦腔、评剧、晋剧、汉剧、河北梆子、湘剧、黄梅戏、湖南花鼓戏等。
昆曲：又称“昆腔”、“昆剧”，是一种古老的戏曲剧种。它源于江苏昆山，明中叶后开始盛行。昆曲的风格清丽柔婉、细腻抒隋，表演载歌载舞，是中国古典戏曲的代表。2001年，昆曲被联合国教科文组织列为“人类口头与非物质类文化遗产”。代表作《十五贯》《红霞》等。
Beijing Opera, also called "yellow skin", from "Sipi" and "Erhuang" it is composed of two basic tone music material, but also a number of small local tunes and songs (such as Liu sub chamber, blowing chamber, etc.) and Kun Tune. It was formed in Beijing, the time is in 1840, prevailed in the 20th century, 3, 40's, when the "National Opera". Now it is still a big drama of national impact. It is a comprehensive line of business, performing mature, imposing macro United States, is representative of modern Chinese drama. Chinese Peking Opera is China's "national essence" has been 200 years. Opera first appeared in the Qing dynasty the name of two years (1876) of the "declaration" in history, had skin yellow, two yellow, yellow cavity, emphasized Beijing, Beijing Opera, Peking Opera, Chinese opera and other titles, fifty-five years of the Qing Dynasty Emperor Qianlong (1790 years) class went to Beijing on Four logo with Beijing after the theater's Kun, Han opera, Yiyang, puppet theater and other operas and five or six years of the blend, Evolution of a Peking Opera is China's largest operas. The richness of its repertoire, performing artists as much theater as much as the audience as much influence deep are the highest in the country. Opera is a comprehensive performing arts. The singing (singing), read (read white), do (performance), playing (martial arts), dance (dance) as a whole, the program's performance by means of Syria speech story, carved figures, expressed "joy, anger, sadness and joy , panic, fear, grief, "the thoughts and feelings. Role can be divided into: health (men), Jordan (woman), net (rough mighty men, another name for the painted face), ugly (male, women both) four line when. People are divided Faithfulness, beauty and ugliness of the points, good and evil. Each image is bright and vivid. Country attaches great importance to the protection of intangible cultural heritage, May 20, 2006, to include approval of the State Opera first batch of national intangible cultural heritage.
A brief history】 【
1, incubation period
Confluence of the early Qing Hui Qin, Beijing opera stage Shengxing Kun Qu and Beijing accent (Yiyangqiang). After the mid-Qianlong, gradual decline of the Kun Opera, Beijing accent prosperity replaced Kun unified capital stage. Forty five years of Qianlong (1780) Shaanxi opera artist Wei Changsheng by the River to Beijing. Wei Qin Opera performances take double celebrations class "Rolling House", "baby back into the House" and other plays. Wei Changsheng handsome appearance, noise Tianrun, singing tactful and delicate work, a "Rolling House" that stir the capital. Double celebration classes and therefore known as "Kyoto first." Since then, the Beijing accent began to decline, Beijing accent classes were the culmination of six classes, royal classes, Yuqing classes, Yu Qing-class extraction Qing classes, Paul and Ben are in limbo, have take into Shaanxi opera classes to earn a living. Five years of Qianlong (1785), the Qing court to Wei Changsheng table
Indecent speech, banned in the capital of Shaanxi Opera performances will be Wei Changsheng out of the capital.
Fifty-five years of Qianlong (1790), following three classes celebrate Emblem _set_tled after the capital (class site is located within South Korea Taiwan-alley), there Sixi, Kai Xiu, Ni Cui, Chun Tai, and spring, three, and, Song Zhu, Jin Yu, Dai King and other classes, also _set_tled in the area Dashilan performance. Among them, Miyoshi, Sixi, spring and spring units 4 fame height, and therefore, "the four emblem classes," said. 'Chun Tai Ban' to Beijing time, according to Chinese master meter should be adjusted before Qing emperor Qianlong in Beijing served as 'Chun Tai Ban' pillar until the time to prove that the class to Beijing earlier in the 'Si-xi' and 'and spring'. 'Chun Tai Ban' in the Baishun alley. 'Si-xi ban' to Beijing in the early Jiaqing. Anhui Opera, Kun Opera and performances, particularly as the Kun Opera, and therefore, "the new row of a Fan, everywhere Hongchuan Sixi class" of language. The course is located in Shaanxi lane. 'And spring classes' in Jiaqing eight years (1804) in the Shui Xie Jie, Li Tie _set_. Known for the class play with force. Daoguang 10 years (1853) Dissolution. "Four emblem class" performance repertoire, performance style, each with its long, so when the "three celebrate the axion, Sixi song, spring and the handle, the spring of Taiwan's child" reputation. "Four Emblem Class" Apart from singing emblem of tune, Kun, blowing cavity, Siping stressed Bangzi opera also used, can be described as various chamber and played. Performing arts widely absorb, draw lessons long various family drama, and into the emblem into play. And the lineup neat, staged plays a rich, popular Beijing audience. Since Wei Changsheng forced to leave Beijing, Shaanxi Opera sluggish, Shaanxi opera artist for a living, have take into the emblem of class, formed the Hui, Qin integration of the two cavities the situation. In the emblem, Qin convergence process, the emblem of a broad class concert, taken into Shaanxi Opera, performing the fine and a lot of scripts transplantation, the emblem of the further development of drama arts, created favorable conditions.
Hui Han opera popular in Hubei Han confluence, the tune of two yellow, Xi Pi has a kinship with the movie logo. Hui, Han went to Beijing before the second opera in the art of blending a wide range. Following the Qing emperor Qianlong, the Leisure and Cultural master meter should be advanced in Beijing, Daoguang year (1821), Han Opera has known the older students, there are six Li, Wang Honggui, Yusan Sheng, Long De-yun, a niche into Beijing, respectively, into the emblem of course take the spring units, and spring classes concert. Meter should show known to sing Guan Yu, 3 Ching Hung Cheng Changgeng the net opera troupe, should first be granted rests with rice. Li 6 with "drunk quite scared to write the book," "Snow," known for; Wang Honggui uses the "let Chengdu" and "Jigumacao" and enjoy the name; niche Dragon Devon good speech "radio Ji Yuan Men," "Yellow Crane floor "and other plays; Yu Sansheng noise mellow, beautiful singing, both civil and military, to play," Mount Dingjun "," Shiro Tan Mu "," When White sold horse, "" touch tablet "and the older students, known repertoire. The Leisure and Cultural actors take classes into the emblem, it will tune melodies, performance skills, theater productions among soluble emblem to emblem plate singing opera increasingly enriched and improved, singing and chanting white voice of Beijing and more features, and easily accepted by Beijing. Daoguang twenty-five years (1845) big name courses are older students, as foreman. Hui, Han, after confluence, contributed to the Xi Pi Hubei and Anhui Erhuang tone tune the exchange again. Hui, Qin, Han confluence, the birth of the opera foundation.
Second, the formation of
Daoguang twenty years to ten years Xianfeng (1840 -1,860 years), the play by Hui, Shaanxi Opera, the confluence of the Han stressed, and reference absorption Kun, Beijing accent the long and formed Beijing opera. One of the signs: a complete melody plate is rich beyond the logo, Qin, Han play any of the three. Singing tunes from the plate body cavity and mixed. Tune mainly Erhuang, Sipi-based; the second line when largely complete; the three formed a group of Peking Opera repertoire; of four, Cheng Changgeng, Yu Sansheng, Zhang Erkui the early formation of the representatives of the opera, was called "lao three heroes" "Sanding a" namely: "champion" Zhang Erkui, "second place" Cheng Changgeng, "third overall" Yu Sansheng. Concerts and performances in all characteristics of each style, the main accent in the creation of Peking Opera Sipi, Erhuang and in opera opera form, and has the characteristics of Beijing Language and Culture, said White, pronunciation, the made an outstanding contribution. The first generation of Peking Opera performers, two are still the older students, Lusheng Kui, Xue India Xuan, Zhang Rulin, Wang Jiuling, etc.; niche Lung Tak Yun, Xu Hong; Dan Hu Xilu, Luoqiao Fu, Mei Qiaoling: Chou Yang Mingyu, Liu drive 3; Lao Dan Hao Lantian, TAN Zhi-Tao; net Zhu large pock , any painted face and so on, they enrich each trade are no tune and performing arts, are a unique creation. Successor 'Si-xi ban' troupe of Meiqiao Ling, the courage to break Tsing Yi, Huadan old rules of strict division of labor, the female roles of the singing art opened up a new path.
"Absolutely the same light Troupe 13" is the Peking Opera Troupe in the history of a wardrobe color photo painting, from the late Qing Shen Rong-po civil artist rendering. He made reference to the mid-Qing He Shikui dwarfed portrait master, "Beijing accent 13 must" figure in the form of drama, _select_ed wen, xu (l860 to 1890) the prestigious Peking Opera stage 13 actors, with a meticulous re-color them play portrayed characters in the play, shows the author's profound skill. This painting in the three years of the Republic of China (1943), by the evolution of complex social Zhu Shu Si Chang in the acquisition, by narrowing the advent of photocopying, along with code "must pass the same optical Troupe 13" 1.
3, mature
1883 a 1918 opera by the formation of a mature one, too representative said, "wants to know after the three heroes" of Tan Xinpei, Wang Guifen, Sun Juxian. One Tan Xinpei Cheng Cheng Changgeng, Yu Sansheng, Zhang Erkui length of various arts, but also by the creation of development, will advance to the new Opera mature state. Tan widely in art practice has absorbed from the Kun Opera, clapper, drum and opera Tsing Yi, Baikal, Lao Dan draw the line, and into the concert being, to create unique art style of singing, "Tan Pai", formed a "no Tan cavity do not learn "situation. After twenty years of Yushu Yan, Yan Ju Peng, the high Qing Kui, Ma Lailiang, are in cases of "Tan Pai" development on the basis of their different school of art. Wang Guifen, arts were Cheng Changgeng, singing never powerful gloomy, solemn and stirring tone plain, the "Tigers & Dragons" in the comments, and he was due to "like process to the real thing," therefore, "Venus and then the world" reputation. Sun Juxian, the age of 18 _select_ed military scholar, good to sing opera, often into the concert box office, after the 36-year-old Tou Shi Cheng Changgeng. His loud noise, high and low with ease. Informality in Hubei and Hunan to study voice and Central Plains White Yun, Multi-tone Beijing, Beijing, word, sound kind of natural. Generous realistic performance, close to life. "After the three heroes the older students," studying under different emphases, art styles, from the overall balance, Tan Xinpei Chiang Kun disorder does not block, art skills and the development of Beijing Opera, far more than Wang, Sun. Hsu, Tan Xinpei called "King of Ling sector" status in the theater world, such as year of Cheng Changgeng. Xianfeng years (1861) Peking Opera performances beginning into the palace. May sixth day until the end of the year, divided by three Qing classes, Sixi class, two-Kui classes and outside classes (class opera) performance. Guangxu reign (1883), Empress life Pentecost day, the _select_ion Zhang Qi Lin, YANG Long-life, Bao Fu Shan, Cai Fulu, Yan Fuxi other 18 palaces and poor, not only singing, and when the opera instructors, teach skills to eunuchs. Since then, the Qing performance of the agencies in charge of "peace and prosperity Department", the famous artist each year to _select_ the palace when the poor, end only Xuantong (1911), namely, Tan Xinpei, Yang F, Sun Juxian, Norman Chan, Wang flute cents Yang Xiaolou, Yuyu Qin, Zhu Wenying, Wang Yaoqing, Gong Yunfu, Mu Fengshan, money Jinfu other students, once the net, ugly people have more than 150 famous palace. As the Empress hobby Opera, Peking Opera stars often coupled performed in the palace, on strong momentum. Meanwhile, at Tai Kwong Tak Building gate area, Sam Kyung Park, Qing paradise, and in parks, theaters civilized park, day'd love to form a unified situation in Peking Opera. Opera maturity, in addition to "the older students, after the three heroes", the health-line, there were still Yam Tong, Gu Honglin; Takefu Yu Ju-sheng, YANG Long-life; net line of He Jia Shan, Huang Runfu, gold Xiushan, Qiu Gui-xian, LIU Yong-chun etc.; niche Wang Leng Sin, Tak-jun For example, Lu Huayun: Dan OK Norman Chan, Tiangui Feng, Wang Yaoqing, Zhu Wenying; scandal Wang Changlin, Zhang black, Luo hundred, Xiao Changhua, Almond Hill. During this period, the rise of female roles, female roles and the health angle formed to keep pace with the trend. Takefu Yu Ju Sheng, creating a roof beam to the first person Takefu own company, he was later known as the "Takefu originator." The famous, innovative development in succession, singing skills maturity, will be opera to new heights.
4, peak period
Since 1917, outstanding Peking Opera actors in large numbers, showing a genre scene of the prosperous situation, the development of a peak by the maturity period, a representative of this period was Yangxiao Lou, Mei Lanfang, Yu Shuyan. As scholars respect for the elegant cultural heritage suffered disaster in the 20th century, opera reached its heyday.
In 1927, Beijing "Shuntian inch newspaper" organized actresses, stars performing _select_ion. Readers vote results: Mei Lanfang to play "too true rumor", Shang Xiaoyun to play "Mo Dengjia Girls", Cheng Yanqiu to play "Hong Fu Chuan", Xun Huisheng to play "Danqing primer", won the "four most famous . " "The four most famous" stand out, is an important indicator opera to its peak. They create a distinctive artistic style, dignified and elegant form of Mei Lanfang, Shang Xiaoyun's pretty vigorous, Cheng Yanqiu the deep euphemism, Xun Huisheng of Johnson Nick and lovely "Four Schools", created a Beijing opera stage to Dan based pattern. Takefu Yu Ju Sheng Yang Xiaolou in the following, Yang F, will be followed by the development of the performing arts opera Takefu to new heights, known as "Chinese opera master," "Wu Shengtai struggle." The older students in the Yushu Yan, high Qingkui, made Ju Peng, Ma Lailiang, 20 years, said that "four to life." During the same period Hui Bao, Wang Fengqing, Guan Tai Yuen Sang and so is the talent. The late 30s, more than, say, the high has quit the stage, Ma Lailiang and Tan Fuying, Xi Xiaobo, Yang Baosen known as "four to life." Women need health Meng Xiaodong, with high artistic attainments, rather Naishi Yushu Yan's artistic style.
After the election, Tong Ling, still, "Li Yan reported that" over, _select_ed Li Shifang, Zhang Junqiu, hair to the world, SONG beads for the "Four Little Ming Dan", "four small Mingdan" joint choice in Chang'an, the new two new theaters the "White Snake" and "45 flowers holes" and offer their congratulations.
Genre scene, talents, is another sign of Beijing Opera peak. In addition to Yang sent during this period (small building), the Mei school (Lan Fong), are still sending (Xiaoyun), Cheng sent (Yan Qiu), Xun (Wai Health), the female roles there are Xiao camp (Cuihua) and Song School (Germany bead), Zhang sent (Kimiaki); lao line I sent (tert-rock), high school (Qingkui), made camp (Ju Peng), horse camp (even good), Xi sent (Xiao Bo ), Poplar (Bossen), New Tan Pai (Fu Ying); net line in the gold camp (small hill), Hou School (Cerritos), Hao sent (Shouson) and after 50 years generated Qiu style (Sheng Jung); niche line Jiang faction (myohyang), leaves school (Sheng Lan); Laodan line Gong camp (Yunnan to), Lee sent (more Kui); the scandal in the leaf Pine (Sheng Zhang) and so on. Over the same period there are a number of Peking Opera performing artists, such as health row Wang Fengqing, when Hui Bao, Wang Yichen, LI Hong-chun, Tan Xiaopei, LI Wanchun, Li Shao-chun, Goldman Sachs Lun, etc.; Jordan line Yanlan Qiu, Xu Biyun, Zhu Qin heart, Zhaotong Shan, Xueyan piano, new Yan-Qiu, Zhang contain cloud, Jinshao Mei, Bi clouds, Qin Chiffon, Wang Yurong, made Huizhu, Tongzhi Ling, Leung Luan, Wu Suqiu, Zhao Yanxia, Du Jinfang; niche in Jinzhong Ren, Ru Fu Lan, Cheng Ji-xian; scandal in Guo Spring Hill, Cirui Quan, Mafu Lu, Zhang Chunhua, etc..
Merchants of the class
Huizhou merchants extremely rich culture of commercial success led to the upsurge of consumer desire. With the socio-economic development and the Kunshan chamber opera tune the rise, one after another Keeper's home, the role of fighting arts, and hard for the South to collect under the Qianlong sensual dance, drama lavishly packaged emblem color art, an objective for the logo to create a drama went to Beijing conditions. Dominated the 500 years of the Ming and Qing Huizhou business to business to help merchants famous famous Huangshan Shexian of merchants in particular, rich. With the socio-economic development and the Kunshan chamber opera tune the rise, South Jiangbei literati and the wealthiest businessmen have Keeper family troupe. Already in the field-and-coming business merchants have followed suit. Huizhou merchants for a long time used to support social drama classes were outsiders known as the "emblem of class." Hui Guangzhou Pumped Storage's home, along the river in Anhui, including a local drama in Ancient things began to flourish. They sing Kun, and not because of language differences "Harmony Wu Yin", inadvertently sing a little "local flavor." So in the cavity under the influence of Qingyang, Anhui singing tone - "Hui Kun", and later developed into Erhuang cavity. In particular, was born in Anqing City, Totally transfer Huaining County, the most famous. Huizhou artist with a local accent in Yangzhou, get merchants their family patronage and a heavy support. Them, or come and go in Pier Street, wantonly, or for Hui Fu Jia Suorong stay. To develop skills, accent has gradually gained the upper hand. Then the concept of class emblem is not entirely "Merchants of the class," and begin with emblem transfer (Shipai cavity, puppet theater tune) meaning.
"No stone not a class"
Pai is a Huaining County of Anqing City, the ancient market town, "no stone not a class" and "stone" refers to here, also refers to the Anqing and their respective counties. To mid-Qing, Pai has become known far and near commercial centers, business 3000, sailing 1000. Jiangxi, Fujian, Hubei and other merchants have the _set_ting in this section. Then Shihpai addition to local residents, mostly in the past Chuanbang and businesses, in survival has become more relaxed, they began to build their own Pop Culture.
Pai was a stage for theatrical performances as many as 800, not only Me and Park, Theater, there are flower stage. The Opera House, there are three in Pai town. On the side streets of the town of Changle Grand Theater can accommodate 600 spectators, specifically for Hui stressed Pihuang class performance. Theater usually in the ancestral hall. Ancestral Theater usually sing opera, with annual winter solstice festival, held within the clan was in, promoted and family in gentry Keiju, must employ troupe performed in the playhouse. In addition, the ancestral overhaul completed, also will be invited to express congratulations singing classes. "Du Fu drama" Description: "Hui Lai lost class day, began Pai." Anqing of Anhui classes that have appeared glorious history, a lot of Peking Opera Troupe are senior people in this band, so there is "no stone not a class itself."
Fighting arts troupe
According to historical records, "The Legendary play, Gojong (Qianlong) southern tour for the height, but never out of Salt Salt in particular." In other words, official bureaucratic official responsible for acting by the Salt Salt, Salt Salt to Keeper flowers, elegant drama of two to prepare southern tour performances. Ya, namely, Kunshan cavity, for the Beijing accent flower, Shaanxi opera, Yiyang Tune, Bangzi opera, Rolls-Royce cavity, Erhuang transfer, referred to puppet theater. Undertake specific tasks of the troupe performed mostly funded by the Anhui merchants formed, called within the class. The original troupe for the Salt Xu Shangzhi (Shanxi) Xu Jinglei established investment classes, after the merchants Huangyuan De (merchants), Zhang Daan, Wang Qiyuan (Hui), Cheng Qian Germany, Hong enrichment (merchants), Garden (Hui business), also have group classes. Jiang Chun-Hui Chun Tai classes formed her own company, in order to enrich the power, he recruited four Mingdan as eight officials in Suzhou, Yang, Anqing, such as Chun Tai Hao Tianxiu class pillars. Hao Tianxiu performances and lovely and moving, straight audience ecstasy, known as the "pit the dead." Shaanxi opera repertoire Wei Changsheng famed artistes who, to seek refuge in Yangzhou Spring River. Great respect on the Wei Changsheng Jiang Chun, acting one, gifts of silver 1200. The actors to join, a great boost to the Yangzhou to Beijing, Qin and other cavity convergence, absorption, and further promote the development of flowers. Three classes of high-Lang Qing Ting, Chun Tai Hao Tianxiu classes are the "flower together Anqing Beijing, Qin second chamber" famous Jiangnan. Salt Merchants need to perform, but also employ a number of experts in the famous lyrics, providing favorable conditions for long-term support them. Dahong classes in spring and Taiwan class is "assembling a crowd to the United States and large equipment." A "Peach Blossom Fan," Bank charges 160 000, a "Palace of Eternal Youth" cost more than ten million, four silver. This pomp Chuqing CHAMBERLAIN, others difficult to match.
Su opera singing Street
Anhui to Beijing starting classes in Yangzhou, skilled and Actors were, prior to departure must be to sing in the Soviet Union Street, Pear Bureau bumper head start to discuss about the schedule and perform plays, where the placing of a posture, the rejection Under the two sleeves, Yang few more words of Zhuyuanyurun voice. Sometimes even a few out of rehearsal excerpts, or "garden" or "Hess", extremely rich, graceful, when the Soviet Union to sing street, very busy!
Su Sing Street, is the only preserved the old Yangzhou directly related to the street with the troupe. Salt Xu Shangzhi year artists from the Suzhou Kun do to attract the first Kun from Yangzhou class "Xu Jinglei class", on this street. Kun Opera's home in Suzhou, so there Sukun known, this had much to sing Sukun residence street artists, who took it the name of Yangzhou Su-sung Street.
Hui class to Beijing
AD 1790, Emblem classes to sing happy birthday to Beijing opera began to tour. After years of vicissitudes, constantly absorbing, the emblem of class, "Voice for the same five parties together," while gradually losing their color. Emblem of history class is over, but born out of the final emblem classes to become world-renowned Peking Opera art treasures, is the emblem of class, can be described as Nirvana.
Miyoshi classes starting Performances
Anhui to Beijing four classes
Beijing to celebrate the success of the three classes, there was Sixi classes, and spring classes, courses, the emblem of spring classes to enter Taiwan, Beijing, and gradually dominating the theater at the Capitol. This is the so-called "four major classes emblem to Beijing."
Four classes have their own strengths emblem, the "three-axis sub-Ching, Sixi song, spring and the handle, the spring of Taiwan's children," saying axion speech refers to the whole drama was even said that good song Concert Kun, handle refers to the force play to win, the children refer to children Ling known for.
In holding a very hot once the capital of the wind, the high skill extraordinary natural favored Long Pavilion. After arriving in Beijing, he replaced the original three-class troupe I Ching ranks the fourth metacarpal classes, one to do that more than 30 years, and also served as the theatrical community of the Capital Bank will organize the "sake of the temple" and will head to Beijing by Loyalty Temple troupe, play Park practice administration, he became leader of opera. After following the high-Lang Ting, Cheng Changgeng, Xu Hong, Yang F, Liu had time for three classes per term in this post.
Jiaqing to the beginning of classes in the Beijing opera stage, Anhui has achieved a dominant position, according to "Beautiful Dream Suo book" reads: "Zhuang drama will play 'emblem of class'. Opera House and great person, such as' Canton de F', ' Canton and House ',' Sam Kyung Park ',' celebration park ', doubtless to' emblem of class' main. Next to this is' emblem of class''Small''Spain ', with all carry on hybrid fitness. "
Anhui to Beijing four classes performed for 200 years has opened a magnificent prelude to the history of Chinese opera.
Tune in Beijing opera artists in all, the face emblem classes can do everything, nothing is fine art edge, unable to compete, and most of all turn to join themselves to class emblem. Among them are the Capital stage, the opera's famous tune, such as adding classes of Hubei Han Chun Tai rice Xizi famous opera, Li Fenglin, adding Sixi classes Hunan noodle (yellow skin) famous Han Xiaoyu, joined the three classes of Beijing Ji Qing Beijing accent actor Quan-Fu Wang and so on, so he formed the emblem of a variety of meta-class opera Tune trend. As a result, all Hui classes in the process of playing chamber complex, from the "two necessary fuel," "three necessary fuel" to "wind stirred the snow," and gradually focused on yellow leather opera performances.
Formation and Communication
Peking Opera was formerly popular in the early Qing Jiangnan region, to sing the blow cavity, high pick, two yellow emblem consisting mainly of class. Emblem class liquidity, frequent contacts with other forms of opera, in tune with each other can exchange, so also moonlights in the development process a lot of Kun Opera, also absorbed La La cavity and other miscellaneous songs. Fifty-five years of Qing Dynasty (1790), with high Long Pavilion (name on official) led the first emblem of class (c Qing Ban) into Beijing to attend the birthday celebration of Emperor Qianlong 80 performances. "Pleasure boats" contains: "High Long booths into Capital to Anqing flowers, Jing Qin second chamber together, were said, the three celebrate their classes." Published in the Daoguang two years (1842), Yang Mao Jian "Immigrant trivial book "also said:" The three celebrate again Sixi the first, Qianlong 50 years Geng-Xu, Zong Wanshou into the eighties when all wish box, called 'three-Ching-Hui', is the ancestor class emblem. "sub Wu Shu in" with the Garden Poetry "notation is even more specific that the" Fujian and Zhejiang Governor Woonara life Anqing Anhui, Zhejiang merchants kai people wishes PCT. "emblem then there are many classes one after another to Beijing. The famous three Qing, Si-xi, spring _set_s, spring and four classes, although the spring and _set_ up eight years in Jiaqing (1803), no later than three years to celebrate, but later still, and called the "emblem of class into four Beijing. "
Qianlong, Chia Ching, the Beijing Cultural Fair, political stability, economic prosperity, the drama artists beginning to look like. Beijing stage Kun, Beijing accent, Shaanxi opera three pillars, each confrontation. Emblem class to Beijing, the first dedicated to "co-Jing Qin second chamber." At that time Shaanxi Opera, Beijing accent is basically the same stage, "Jing Qin, regardless of" ("Pleasure boats"), emblems of their drawing on others to carry forward the tradition of class, broad absorption Shaanxi opera (including some of Beijing accent) of the repertoire and performance methods, and inherited many The Kun operas (also rehearsing the Kun opera "Peach Blossom Fan") and stage art system, which rapidly increased in the arts.
Emblem art class itself features is its ability to win in the main Zhengheng. In tune, in addition to the singing voice erhuang wins were transferred to the new suits, it is "five-party contact Voice, merged into the same" ("past it to see record"); in the repertory, the subject matter wide variety of forms; In the show, the simple and genuine, and heavy line when complete civil and military, so for the general audience has requested.
Arrangements on the show, according to "Beautiful Dream Suo book" contains the four Emblem class "all good at winning games." 3 celebrate the "axion" win (the past few days took a role in new play), Sixi to "tune" to win (good singing Kun), and spring in order to "handle" to win (good Yanwu play), the spring _set_s in order to "children" to win (with Ling Tong to call). In the arts and business with emphasis on, can play expertise, made rapid progress. To Daoguang late emblem classes have an advantage in Beijing. "Immigrant Suo book", said: "this club for a maximum of Anhui, Wu people of Asia, Shu no known who carry on." Said: "logo will play Zhuang drama classes. Opera House and great person, such as wide Tak House, Canton, and House, Sam Kyung Park, Qing park is fully to the main emblem of class. "emblem of the process of growth and development classes, that is good at it to change the course of opera. The completion of this evolution, the main symbol for the confluence of the Han and Hui Huang blend of leather, formed the Xi Pi, two yellow two tone-based vocal chamber music system board, so deeply honored to performance gradually improved. The first class to Beijing along with the Han Hui stressed that m actors should (also known as rice Xizi), Hubei Chongyang (one that people in Anhui), was born forty-five years Qianlong (1780), about the spring of Taiwan to join Jiaqing Emblem class to Beijing concert, play is health, good at red health show, a very prestigious Long (see "Immigrant Suo Book" and Lee Teng-Qi "Talking often bundle record"). Be regarded as a famous Chinese actor Yu Sansheng pioneer tune (lyrics folk art was a "sub-meter race to be first year" of the sentence). Reign (1821-1849), Han transferred to Beijing to join emblem actor singing classes gradually increased, with the noted Wang Honggui, Lee 6. Su Hoi Temple Buddhist "Yan Taiwan Hong claw _set_" (about as in Daoguang years ago) said: "Imperial is still Chu notes. Musicians in such Wanghong Gui, Li 6 good for the new claim in time." Chu notes that Chinese tone, that is, Xi Pi tone. It is obvious that Beijing has stressed popular Sipi, Wang Honggui, Lee 6 "good for the new sound", but also promoted the transfer of innovation in the development of the Xi Pi. In the emblem, the joint efforts of Chinese actors, and gradually realized the Xi Pi and two yellow two tone blending. Start a different repertoire, according to different sources, were singing the Xi Pi or 2 yellow; later, some play and sing on the Xi Pi and two yellow, and even singing the same aria in the first two yellow, and then by the Xi Pi, and the mutual coordination and seamless . "Luo called off" (the emblem of the source tune "mud river") is an example. Rhyme, the form "Central Plains Yun and Hu tone" of the rhyme, the word sound intermingled Beijing Music, E Music, used along with Beijing, Hubei, two four-tone value, respectively, ts pronunciation, in accordance with the "13 Track" rhyme. Two yellow strings and, several times repeated, and finally in Xianfeng, Tongzhi period (1851-1874) spent flute, used consistently with the Xi Pi huqin (different tune a stringed instrument), but the blowing chamber singing traditional classes according to the previous logo with flute accompaniment.
Tongzhi six years (1867), Peking Opera spread to Shanghai. Man Ting Fang, the new Opera House is about to Beijing from Tianjin classes by the audience. In the same year, Osmanthus tea celebration by Beijing three classes, but also about the large number of well-known Peking Opera actor, which wants to know Xiakui Zhang (Xiayue Run the father), Xiong Jingui (Xiong Wen Tong father), rising star Feng Sanxi (Feng Zi and father) and so on. They _set_tled in Shanghai, a Shanghai as the center of the Southern Pine opera family. Subsequently, the more Beijing angle gradually southward, the best known are Zhou Chunkui, Sun Juxian, Yang F, Sun Chunheng, Yellow Moon Mountain, Chun-Lai, Yong-Chun Liu and clapper Huadan Tin International Cloud (ring Jiuxiao), so as to make Shanghai become the Beijing side by side to another Opera Centre.
In 1919, Mei Lanfang rate troupe went to Japan to perform Peking Opera for the first time spread to overseas; in 1924, he re-rate troupe to perform in Japan, in 1930, Mei has rate 20-member crew to the United States visit and performance achieved great success. In 1934, he was invited to go to Europe to perform in the Soviet Union, the importance attached by the European theater. Since then, around the world as the Peking Opera School of the Chinese drama.
Opera about the formation of about 150 years.
Fifty-five years of Qing Dynasty (1790) The emblem of the renowned South Course "Miyoshi class" into Beijing for the Qing Gaozong (Qianlong Emperor) of the eight late "Wanshou" birthday. Class is speech emblem emblem or logo of opera troupe tune, popular in the South the early years of the Qing Dynasty. Following this, many emblem incoming class, including the most famous three Qing, Si-xi, spring _set_s, and spring, often called "four emblem classes." They perform on their own characteristics, the three celebrate the whole repertoire of drama; Sixi longer Kun plays; Chun Tai Ling and more young children mainly; spring and outstanding repertoire.
Huang Hui tone is two tone, high pick, blow cavity, Siping transfer, etc., sometimes also the Xi Pi transfer, Kun and Yi cavity; the Chinese cast member is transferred to reconcile two yellow tone Sipi. Hui and Han class cooperation, merging the two tone, mix with each other after a period of absorption, coupled with sound technology to Beijing, and from Kun, Yi cavity, Shaanxi opera constantly absorb nutrients, and finally the formation of a new art form - opera. The first generation of Peking Opera players mature and are recognized around around in 1840.
Peking Opera from the production since there have been many names. Include: puppet theater, spring adjustment, Beijing spring, Beijing Erhuang, Pi Huang (yellow skin), Erhuang (2 yellow), drama, Peking Opera, the old opera and Chinese opera, Beijing Opera, Beijing Opera and so on.
【Features】 Arts
Peking Opera stage in the literary arts, performance, music, singing, drums, makeup, facial makeup and so on, through the stage of long-term practice of numerous artists, constitute a _set_ of constraints with each other, complement each other's metrical and standardization programs. As a means to create a stage image of the art is very rich, but usage is very strict. Can not manage these programs, you can not complete the opera stage art creation. Since the beginning of opera in the formation, they entered the court, it is different from the developmental growth of the local operas. Asked it to show wider areas of life, the types of characters to create more comprehensive nature of its skills, integrity also requires more stringent, it creates the image of the aesthetics of the stage were also higher. Of course, it also correspondingly weakened civil local flavor, simple, rugged style features relatively weak. Thus, it tends to be more performing arts performance combining false and true way to maximize the detachment of the stage space and time constraints, to achieve the "Form and, Vivid," the art of life. Performance on the required fine delicate, always into the game; melodious singing to request euphemism, extremely rich; force play to win not to brave hot, but to "force the text to sing opera," see good.
Category】 【line when
Opera trade are no division, otherwise than pursuant to the natural character attributes (gender, age) and social attributes (status, occupation), the more the main character traits according to figures on the characters and creators DC attitudes were different.
Line when divided into long, divided into line when the greatest impact on the opera, when the number of the Leisure and Cultural. Han opera is divided into 10 types of business: one end of the second net, whose son, 4 Dan, 5 b, 6, the seven little, eight, nine husbands, 10 miscellaneous. The role of this ten line when the contents of something like this: at the end is the main male role, that is, inside the Sang opera; the net and the net opera, is the same, referring to the painted face; Dan is the opera, the roles, refers to the female role; sticker is affixed Dan's short opera in the early division of business, where also posted, including Jordan, referring to the relatively minor role once the line, commonly known as the two roles, such as Peking Opera is now "matchmaker" in play Miss Yingying is posted once. Husband, plays the driver, bearers, horses child, the role of a class of runners. Overall, the Leisure and Cultural of the ten business, where division was more detailed, classified for the opera business, where the foundation. Peking Opera was divided into a living, once the net, ugly four types, seems to be more streamlined and concise, but among each category, but also includes a number of categories, so in fact these 10 kinds of line when all included. Not included, and more stringent fine. The only difference is that although there Sang Han Opera, but his main industry was the end, not the students. The development of the opera, Sang became the main line when the.
】 【Character Makeup
Face of Chinese traditional opera, an actor facial make-up of a program. Generally applied to the net, the two ugly Profession, in which various characters have their own specific spectrum of great style and color to highlight the character's personality characteristics, with "Apartments no judgments, do good and evil," the art features that allow viewers to visual appearance , to comprehend the mind. Thus, Facebook known as the role of "spiritual picture."
Facebook's evolution and development, not an individual product concocted out of thin air, but the art of opera artists to practice in the long run, observations of the phenomenon of life, experience, comprehensive, and continuous analysis of the play the role of judge, to evaluate, before gradually formed a complete _set_ of artistic practices.
According to historical records, Facebook by the Tang Dynasty Music and Dance Omo (traditional opera character line when is one of the opera and the play in some parts of the net's other name) is wearing a mask and join the army to show the net of the coated vice Ancient Period.
Peking Opera and Peking Opera performing arts, as is, and actors appear on stage with live art. Opera in the history of Chinese opera, though only 200 years of history, but compared with other opera, it has developed quickly, spread widely, deeply loved by the people, have a broad mass base. Therefore, the Peking Opera facial makeup in Chinese opera has a special status.
Peking Opera is an impressionistic and exaggerated art, often bat, Yan-wing, Diechi facial features such as cheek hook pattern, combined with exaggerated nasal fossa, fossa mouth to describe the facial expression. Facebook is always cheerful optimistic eye development Shu-mei, sad or violent facial Eyebrow mostly songs in destination. Outlined when the "crow's feet" to reflect the age, the level of right and wrong, use the "nasolabial folds" up and down to open and close to the performance of temperament, with "Yintang pattern" a symbol of Characters in different patterns. Peking Opera
Peking Opera is the national characteristics of a particular cosmetic. As each historical figure or a certain type of person has an approximate spectral type, like sing, play music to the music, so called "Facebook." Sources on Facebook, the general view is from mask.
Peking Opera, is based on some kind of personality, temperament or a particular type of figures for the use of certain colors. Red mask that Warriors of strong, such as Guan Yu and his concubine dimensional, regular book; black mask that Unyielding, integrity, bravery or recklessness, such as Bao Zheng, Zhang Fei, Li Kui, etc.; yellow mask that vicious brutality, such as Yu Chengdu, Dian Wei. Blue or green mask that some of the figures represented irritable, such as Dou, Ma Wu; white mask generally indicated a traitor, villain, such as Cao Cao, Zhao higher.
Peking Opera of color painting methods, basically divided into three categories: rubbing face, face towel, different faces. Facebook first, it only exaggerated the characters facial features and facial parts of the texture, the performance of characters in the play with exaggerated personality, psychological and physiological characteristics, in order to service the entire drama of the plot, but the development of later , Facebook from simple to complex, from coarse to fine, exterior to interior, from shallow to deep, itself becoming a nation of characteristics, people's facial expression means for the pictorial arts.
】 【Pronunciation skills
(1) real voice 亦名 big voice, the voice. Peking Opera is one of articulation. Singing, the air out from the pubic region, through the throat resonance, given the direct sound to, as real voice. With the real voice sounds that really sound. Such as the pubic region air through the throat, the actor will narrow throat, so that issue higher than the real voice tones, is called the false voice. False true voice and throat cavity when the convergence of the natural line, without a trace, you can make a wide range of high bass run smoothly. Peking Opera Sang (wants to know Takefu, Hong-sheng), net line, scandal, Lao Dan and other business, where all the time in concert with the real voice. Niche singing voice with a fake, but the idea of white is combined with true and false voice.
(2) at the throat 亦名 small voice, two throat. Peking Opera is one of articulation. Department and true voice, great voice, the voice relative. Fake voice with fal_set_to voice said. Sound when compared with the true voice pore throat narrow, site elevation, air becomes thin. Fake voice sounds higher pitch Jiaozhen voice. Female roles in Peking Opera, niche concert are using fake voice, but they sound different from the flex strength.
(3) Left voice, opera vocal terms. Mainly refers to male voice in an abnormal voice, can be high but not low, another voice has just the flat, round enough, wants to know some special high-sounding doors or Takefu that this throat singing. Voice has just left the older students, throat, also left by the throat, somewhat. In addition, the left voice sometimes used as another explanation, saying that substandard voice with accompaniment of musical instruments, the general so-called dissonant.
(5) calling voice, opera voice actor training methods, you can exercise all by voice shouting voice parts, correctly in all finals of the sound issue. Shouting voice in early morning, in open areas, loudly shouted, "Well," "Iraq", "ah" sound such as unit, from low to high, from high to low, repeated. Put the sound to be comfortable, then to aria to practice.
(6) Dan Tian tone, also known as ring hall, opera vocal terms. When the actor singing the lungs to store enough gas, abdominal strength in air like from the pubic region (about three inches under the navel person office that the pubic region) the issue of sound. Now the traditional method of singing opera voice training, but also that most navel ring tone together (that sounds sent far away, hear clearly).
(7) on cloud cover, opera vocal terms. This is the round while the older students, more subtle voice of a metaphor. This voice began to sound like feel dry, after more singing Yujue loud sounds, people feel full-bodied flavor, great potential is the formation of long-term exercise and a beautiful sound. Tan Xinpei, Yushu Yan's voice will be of this type.
(8) collapse, the opera vocal terms. Actors in old age, due to physical relationship, occurred aphonia phenomenon, can not sing, called the collapse of. Some actors love his voice, to the old vowel remains unchanged. Singing with a fake voice actor, collapsed in the more old.
(9) behind sound, a Peking Opera sound. Also known as back sound work. General pronunciation, gas from the navel out through the throat resonance, direct send to. Although the same sound from the back of the head gas pubic region, but the pronunciation, the throat a little compression, open the posterior pharyngeal wall, raise the soft palate, the sound into the head cavity, and nasal meet so convoluted in the back of the head voice, through the first cavity resonance , send a subtle, rich tone. Behind sound the vigorous and powerful can be up to much news, but they knew it almost hear the piercing. The older students, and the net angular singing in any case in closed sound (such as "17 Track") treble, and more with this singing. Female Roles in the singing voice behind those with fewer processes (Yan Qiu) Vocal sometimes used.
(10) ridiculous, but also for yellow chamber yellow tone or cool tone. Opera vocal terms. Cantata tone that actors are not allowed to, customary to refer exclusively to the tone changes slightly lower than the sound. Most are due to physiological condition caused by congenital actors, such as vocal variation, ears, etc. are not allowed to sound. Sometimes not be as sound law practice due.
(11) to take notes, opera vocal terms. Cantata pitched slightly higher than the requirement that an actor the tone. Most are caused by a congenital physical condition. Some are due to physical conditions (such as vocal cords) temporary failure; sometimes not as sound practice law due.
(12) take the board, opera vocal terms. Means Cantata actor beat irregularities. Peking Opera has a Plate 3, stiff, water board in a variety of board slot, line cavities, such as departure from the beats when the provisions of the measured loss of rhythm, that is that the go board.
(13) to be dissonant, opera vocal terms. Means Cantata actor or high or low tone, inconsistent with the provisions of the tune. Xi said that out of tune.
(14) air intake, Peking Opera singing one of the methods. When the suction means Cantata method actor. Varying lengths of various singing opera, rhythm and speed are different, the actors have to have accurate methods of breathing to sing calm, beautiful sounding. Including the ventilation air intake, two stolen gas. Intermittent ventilation means in inspiratory singing, stealing gas is off, if continued in the phrase, if not to make the listener aware of the breath.
(15) ventilation, the Peking Opera singing one of the methods. Whenever long-time concert chamber, or overstating Department, we must first inhale, well prepared. Ventilation was not stopped or significantly Pause Afterwards cavity sing songs, but the moment the line cavity throughput pronunciation, we took the opportunity breathing, has to be for gas. Where singing in the ventilation, vary, commonly known as air intakes.
(16) to steal gas, Peking Opera singing one of the methods. Means for air fused together organically, in the audience when the substitution is not aware of. Such as "Zhuofang Cao," sung in Chen Gong "Ma line to line both sides I can not return within the horse," over and over before the sixth and the "inside" word length cavity, using "I" word in this lining inward to "steal" suction breath to sing adequate following "difficult to return to Malaysia," the chamber, that is, that of stealing gas.
(17) Ga tune, singing in the opera, all sung with outstanding overstating the sound of a word, the study said the Ga transfer. Such as "Shiro Tan Mu" in the YANG Yan-hui sing "stand palace called the Little Fan" one of the "barbarians" and the words "Mount Dingjun" in Huang sing "Three carved credit sweep tomorrow noon," one of "Heaven," the word , are called Ga tune.
(18) long anything, but the length (tone palm) is the growth of anything about this incident is the voice of the called, here refers to the volume. Long anything about this incident as if to increase the volume.
(19) to drop ram, ram like analogy cast album of the drum when the foundation efforts Weili, with derogatory implications. Control methods are not good at singing actor with gas too far, or to brute force, singing (mostly in the tail) appears awkward accent, that the drop ram.
【Accompaniment instrument】
Peking Opera percussion and orchestral strings and points. Among them, the music is the soul of Peking Opera in the accompaniment of musical instruments. Peking Opera "singing", "read", "do" and "fighting" in full accordance with the provisions of the rhythm, "singing" to rhythmic, "read" to self-assured, "do" is the dance, and dance to demonstrate clear rhythm, who control, reflecting the rhythm? That is percussion. Percussion instruments are plate percussion section, a large gong, cymbals, cymbals, etc., referred to as "special effects"; orchestra has jinghu, Beijing Erhu, Yueqin, sanxian, known as "text field." In the opera stage, all the action figures, including the most secret thoughts activities are dance-oriented posture through movement, music and singing of the concept of white, and carried out the music accompaniment, composed by a variety of percussion sound the "percussive" plays an important role. Some people say that if the "singing", "read", "do" and "fighting" is a drama of flesh and blood, then the "percussive" is that it's bone, burst of drums, both playing majestic momentum, but also heighten the actors performance, and this _set_ off on the performances is very detailed, and even careful to point shot drum rotating cast eyes, opening and closing of eyelids, fingers trembling. Performers are often guided the emotional and expressive needs of drums, gongs and drums (rhythm, sound) and other stimuli, in turn induced by the actors performing passion.
】 【Stage props
Puzzle at the end
Puzzle is not the size of a few simple props and devices referred to, is the opera performance and physical conflicts to resolve the particular product. Not the word puzzle in the Jin and Yuan period there. Puzzle of traditional opera stage, including the end of life equipment (such as candlesticks, lanterns, fans, handkerchiefs, pens, tea, wine), transportation equipment (eg chair, car flags, paddles, whips, etc.). Weapons, also known as swords and guns handle (such as a variety of knives, guns, swords, axes, hammers, whips, clubs, sticks, etc.), and the performance environment, dyed all the atmosphere of objects (such as Putrajaya, large accounts and small accounts, the door flag , banner flag, water flag, wind flags, fire flag, quite a battle equipment, table chairs around Phi) and so on. In addition to popular puzzle at the end, but also can require temporary installation of performance.
The traditional makeup, is consciously different from the life of the natural shape of the object. They are not the kind of imitation, but in the drama of a kind of artistic expression. This is the puzzle and action to end the image is an important reason for the combination.
Banner on the stage to use a lot, such as the handsome Jack square, rectangular armed prayer flag, banner flag (the ancient banner of the army), are said Marshal and headquarters location. There are water flag, fire flag, wind flags, car flags, etc., these flags are painted in white on green water stripe square flag, flame, wind, wheels and so on. Actor execution flag, a slight quiver, it can be expressed undulating, fire, wind, ride.
Opera stage is not to evade the "false disclosure," nor does it require 11 realism. Swagger to on behalf of the horse, Yao Jiang in lieu of shipping. In the arena there is a broad space for performers, it shall make every effort to place detailed descriptions of unnecessary scenes, a rounders to have passed, this virtual method and style of Chinese opera performances are consistent.
】 【Glossary
(1), a musical, opera music terminology. Opera scores on the lyrics refers to the right side of the scale note symbol. China's traditional folk music, with "joint, four, on foot, workers, who, six" the words as the scale of the symbol, the equivalent of Western music, "56712345." Habits of these symbols collectively referred to as "a musical." Some music scores, lyrics next to the only note beats (segment), not a musical note. The scores are a musical called a musical score.
(2) traditional Chinese music, Chinese music terminology. Cantata tradition, the often Guban by the beat, where the strong beat are hit board, so called for the board of the film. Times strong and weak beat Zeyi drum beat playing, or finger sign making, are called the eyes, small eyes (four beats in the middle of a weak beat, said the beginning of the first eye or eyes, a weak beat, said after the end of eyes). Together, the orderliness.
(3) window-, Opera musical terms. Means singing words and singing between sentences, aria and aria interlude between the music. Sing the words and sing the words commonly used in small window-between the children, aria and aria great interlude between the commonly used. However, different plate, there are many exceptions, there is no fixed pattern.
(4) linked to children, opera music terminology. Linked to children is "too child" homophonic, specifically refers to arias and aria large window-between, most people refer to CLS's room playing music. Sentence and sing in singing the little interlude between sentences are not linked to child said.
(5) pad head, opera music terminology. Meeting with the music refers to music from the bridge between the role of Health and melody known as the pad or small mat head first, 亦名 bridge. Mat the first melody short, generally only two or three shot, played the role of back to back.
(6) line of rotary, opera music terminology. Refers to performers action or dialogue, monologue _set_ off when the music. Rotary multi-line melody for the melody or simple repetitive playing, the main role of the atmosphere from the contrast.
(7) pitch, that pitch when singing actor. Any use of stringed accompaniment, are based on the height of the free voice actors _set_ the tone. Opera pitch, generally being modest house notes, to sing the highest notes B word, any word the lowest tone, commonly known as lying on the tone. The same play, the two main actors of different pitch, sometimes to accommodate each other, sometimes temporary long (increase) pitch or off (lower) pitch.
(8) transfer surface, the actors sing the pitch with the accompaniment of musical instruments (erhu, dizi, etc.) the same pitch, called the transfer surface. Means in accordance with the "tone" of the surface of singing. Transfer surface in terms of the bottom line for the transfer. Under normal circumstances, the actors are singing tone surface.
(9) emphasized the end, the actors sing the pitch than the accompaniment of musical instruments (erhu, dizi, etc.) sound level octave, called the transfer end. Means in accordance with the tone of voice singing the bottom. Transfer surface for transfer in terms of bottom line. Opera's some singing, such as dolls tone tone often turned high, if the tone _set_ high, the actors voice less, if the tone _set_ low, musical instruments, the volume has been small, is the use of transfer end singing, the instrument _set_ an octave higher actor low octave sound to singing.
(10) tune a stringed instrument, means the strings (erhu, ruan, etc.) will "tone" of the high and low. Generally to the flute as a standard tune a stringed instrument.
(11) B tones of Chinese characters, Beijing Opera musical terms. Notation used in one tone. Tune a stringed instrument, the flute unskilled laborer to adjust the "B" sound (to open the fifth hole, blowing soprano), _set_ the erhu "work" sound (Sipi transfer Waixian of open strings). B the tone for the opera of the highest pitch.
(12) work is being transferred, but also for being house tune. Peking opera _set_ according to the pitch of the erhu flute tone, Xi Pi Wai Xian Gong tune with the flute work is sound palace with a high tone as positive. Than the increase in the palace is a time of said transfer B words, more than half a degree of that half-tone work, lower than was once the palace said the sixth tone, said the low degree of six and a half semi-tone, low degrees of the known lie the tone.
(13) work one half-tone opera tune. Slightly higher than the house is transferred, slightly lower than the B word transfer. Cf flute tune a stringed instrument when it is _set_ a positive tone and a little house increased.
(14) soft-workers stressed that the tone of one of the Peking Opera. Slightly lower than the house is transferred, but slightly higher than the sixth tune. Tune a stringed instrument is flute cf palace when it is _set_ slightly lower tone while.
(15) The sixth tone, the tone of one of the Peking Opera. Tune a stringed instrument, the flute unskilled laborer to adjust the "six" sound (tin fully closed, blowing treble), _set_ the erhu "work" sound (Sipi transfer Waixian of open strings). Sixth notes of Peking Opera are working below the tone, the level of moderate tone.
(16) lie on the tone, the tone will be Pa. The tone of one of the Peking Opera. Where less than the sixth transfer more than once referred to lie on the tone.
(17) take the side, "take sides" of the source of one that comes from Shanxi Operatic "white tiger whip away side" of the dance figure; a say because of where to go side characters because was afraid to see and more to the wall, along the roadside potential physical Night, Guer referred to as "walking side." In general, "Wuhu Village" Huang Tianba take the hardest edge. "Night Flight" and take the side of Lin's most tired, "centipede Ridge" of the Wu Kung Fu eat away the best side.
(18) times a horse opera in as much as to whip to replace the horse, or as a symbol of riding, so any hand waving whip use rounders after playing, stand up, lay the fish, cut body, throw fork, dig Ling, appearance and other skills Continuous made a horse, galloping horse stops or a combination of dance movements of the times is the horse opera.
Master】 【famous
Peking Opera has been formed, emerged a large number of excellent actors, their opera singing, acting, and modeling plays and characters such as innovation, contribute to the development, forming a large number of affected schools. If the older students: Cheng Changgeng, Yu Sansheng, Zhang Erkui, Tan Xinpei, Wang Guifen, Sun Juxian, Wang Xiao-ning, LIU Hong-Sheng, Wang Hongshou, Yushu Yan, Gao Qing Kui, Yan Ju Peng, Zhou Xinfang, Ma Lailiang, Yang Baosen, Tan Fuying, Li Shao-chun, etc.; niche: Xu Hong, Cheng Ji-xian, Jiang myohyang, Ye Shenglan etc.; Takefu Yu Ju-sheng, HUANG Yue Shan, Chun-Lai, Yang Xiaolou, Gai Jiaotian, Shang and Yu, Li Huiliang, etc.; female roles: Meiqiao Ling, Yu Ziyun, Tiangui Feng, Norman Chan, Wang Yaoqing, Mei Lanfang, Cheng Yanqiu, Xun Huisheng, yet Xiaoyun, Ouyang Yuqian, Feng Zi and, Xiao Cui-hua, Zhang Junqiu, ZHANG Huo D, etc., Lao Dan Gong Yunfu, lying clouds lay, Lee Da-kui, Jin-Quan Li, etc.; net angle: Mu Fengshan, Huangrun Fu, He Shan, Qiu Gui-xian, Jin Shao Shan, Qiu Shengrong, etc. ; clown: Liu go to three, Yang Mingyu, Wang Changlin, Xiao Changhua so. In addition, the famous zither player: Sunyou Chen, Mei Lantian, Xu Lan Yuan, WANG Shaoqing, Yang Baozhong, etc.; famous son and Hang drum teacher, Baideng Yun, Wang Xieyuan so.
Peking Opera school:
NGA wants to know the net angle Takefu female roles Laodan clown Musician drum teacher
【Features】 Peking Opera
Characteristic
Chinese opera and Greek tragedy and comedy, drama and Indian Sanskrit drama called the world's three ancient cultures.
Historically the term was first used Opera Sung Liu Xun (1240-1319), his "poet Wu Yong Zhang Biography" that "Yongjia opera," he said, "Yongjia Opera" is what later generations, "Southern Opera" "Opera Man," "Yongjia Drama." From the beginning of modern Wang Guowei, only then "Opera" is used as a generic term for traditional Chinese theater culture.
Opera is a comprehensive art, is the time integrated art and space art, this comprehensive theater culture is shared by countries in the world, and comprehensive Chinese opera particularly strong.
Shi Yi Chinese opera singing, concept, doing, playing De variety show centered on dramatic form, it means a wealth of artistic expression, it is closely integrated with the performing arts comprehensive, so full of special the charm of Chinese opera. It is the lyrics, music, fine arts, performing cast for the United States, with the rhythm of the exercise was in a drama, to achieve unity and harmony, and fully mobilize a variety of artistic means of appeal, the formation of China's unique rhythmic performance Art.
Chinese opera features the most important point is virtual sex. Performing Arts is not a simple imitation of life, but to choose life prototype, refine, exaggerated and embellished the audience directly into the art.
Another artistic feature Chinese opera, is the nature of its programs, such as closed, launched, boat, etc., have a fixed program. Both in the drama program there regulatory flexibility, Opera art is properly called a rule of freedom of movement.
Comprehensive, virtual, program, and is the main artistic characteristics of Chinese opera. These characteristics, the efforts of Chinese traditional culture, the essence of aesthetic ideas, constitute a unique theater concept, the Chinese opera in the opera world culture shines on the big stage of its unique artistic brilliance.
Chinese opera originated in the original song and dance, is a long history of comprehensive performing arts style. It consists of literature, music, dance, art, martial arts, acrobatics and performing arts integrated made about more than 360 species. It features the many art forms coming together in a standard, in common with the nature of personality reflected in their respective. The famous opera types are: Peking Opera, Kun Opera, Shaoxing Opera, Opera, opera, Sichuan opera, Shaanxi Opera, Pingju, Shanxi Operatic, Han Opera, Hebei Clapper, Xiang Ju, Opera, Hunan Flower Drum Opera and so on.
Kun: also known as "Kun", "Kun" is an ancient operas. It originated in Kunshan, Jiangsu, became popular after the mid-Ming. Elegant style of Kun Opera soften, delicate express Sui, singing and dancing performances, is the representative of Chinese classical opera. In 2001, the Kun Opera by UNESCO as a "Class of Oral and Intangible Cultural Heritage." Masterpiece "Fifteen Strings of Coppers" "Hongxia", etc..
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