京劇，也稱“皮黃”，由“西皮” 和“二簧”兩種基本腔調組成它的音樂素材，也兼唱一些地方小麯調（如柳子腔、吹腔等）和昆麯麯牌。它形成於北京，時間是在1840年前後，盛行於20世紀三、四十年代，時有“國劇”之稱。現在它仍是具有全國影響的大劇種。它的行當全面、表演成熟、氣勢宏美，是近代中國戲麯的代表。 中國京劇是中國的“國粹”，已有200年歷史。京劇之名始見於清光緒二年（1876）的《申報》，歷史上曾有皮黃、二黃、黃腔、京調、京戲、平劇、國劇等稱謂，清朝乾隆五十五年（1790年）安徽四大徽班進京後與北京劇壇的昆麯、漢劇、弋陽、亂彈等劇種經過五、六十年的融匯，衍變成為京劇，是中國最大戲麯劇種。其劇目之豐富、表演藝術傢之多、劇團之多、觀衆之多、影響之深均為全國之冠。京劇是綜合性表演藝術。即唱（歌唱）、念（念白）、做（表演）、打（武打）、舞(舞蹈)為一體、通過程式的表演手段敘演故事，刻劃人物，表達"喜、怒、哀、樂、驚、恐、悲"的思想感情。角色可分為：生（男人）、旦（女人）、淨（粗獷威猛的男人，別稱花臉）、醜（男、女人皆有）四大行當。人物有忠姦之分、美醜之分、善惡之分。各個形象鮮明、栩栩如生。國傢非常重視非物質文化遺産的保護，2006年5月20日，京劇經國務院批準列入第一批國傢級非物質文化遺産名錄。
【發展簡史】
一、孕育期
徽秦合流 清初,京城戲麯舞臺上盛行昆麯與京腔(弋陽腔)。乾隆中葉後,昆麯漸而衰落,京腔興盛取代昆麯一統京城舞臺。乾隆四十五年(1780年)秦腔藝人魏長生由川進京。魏氏搭雙慶班演出秦腔《滾樓》、《背娃進府》等劇。魏長生扮相俊美,噪音甜潤,唱腔委婉,做工細膩,一出《滾樓》即轟動京城。雙慶班也因此被譽為“京都第一”。自此,京腔開始衰微,京腔六大名班之大成班、王府班、餘慶班、裕慶班、萃慶班、保和班也無人過問, 紛紛搭入秦腔班謀生。乾隆五十年(1785年),清廷以魏長生的表
演有傷風化,明令禁止秦腔在京城演出,將魏長生逐出京城。
乾隆五十五年(1790年),繼三慶徽班落腳京城後(班址位於韓傢臺鬍同內),又有四喜、啓秀、霓翠、春臺、和春、三和、嵩祝、金鈺、大景和等班,亦在大柵欄地區落腳演出。其中以三慶、四喜、和春、春臺四傢名聲最盛,故有“四大徽班”之稱。‘春臺班’進京時間,按漢調名傢米應先於乾隆末年,在京曾擔任‘春臺班’臺柱時始,證明該班進京時間早於‘四喜’和‘和春’。‘春臺班’位於百順鬍同。‘四喜班’於嘉慶初來京。徽戲、昆麯兼演、尤以昆麯為著,故有“新排一麯桃花扇,到處哄傳四喜班”之語。該班位於陝西巷內。‘和春班’於嘉慶八年(1804年) 於李鐵拐斜街組建。該班以武戲見長。道光十三年(1853年)解散。“四大徽班”的演出劇目,表演風格,各有其長,故時有“三慶的軸子,四喜的麯子、和春的把子、春臺的孩子”之譽。“四大徽班”除演唱徽調外,昆腔、吹腔、四平調、梆子腔亦用,可謂諸腔並奏。在表演藝術上廣徵博採吸取諸傢劇種之長,融於徽戲之中。兼之演出陣容齊整,上演的劇目豐富,頗受京城觀衆歡迎。自魏長生被迫離京,秦腔不振,秦腔藝人為了生計,紛紛搭入徽班, 形成了徽、秦兩腔融合的局面。在徽、秦合流過程中,徽班廣泛取納秦腔的演唱、表演之精和大量的劇本移植,為徽戲藝術進一步發展,創造了有利條件。
徽漢合流 漢劇流行於湖北,其聲腔中的二黃、西皮與徽戲有着血緣關係。徽、漢二劇在進京前已有廣泛的藝術交融。繼乾隆末年,漢劇名傢米應先進京後,道光年初 (1821年),先後又有著名漢劇老生李六、王洪貴、餘三勝,小生竜德雲等入京,分別搭入徽班春臺、和春班演唱。米應先以唱關羽戲著稱,三慶班主程長庚的紅淨戲,皆由米應先所授。李六以《醉寫嚇蠻書》、《掃雪》見長;王洪貴則以《讓成都》、《擊鼓駡曹》而享名;小生竜德雲善演《轅門射戟》、《黃鶴樓》等劇;餘三勝噪音醇厚,唱腔優美,文武兼備,以演《定軍山》、《四郎探母》、《當鐧賣馬》、《碰碑》等老生劇目著稱。漢劇演員搭入徽班後,將聲腔麯調,表演技能,演出劇目溶於徽戲之中,使徽戲的唱腔板式日趨豐富完善,唱法、念白更具北京地區語音特點,而易於京人接受。道光二十五年(1845年)各大名班,均為老生擔任領班。徽、漢合流後,促成了湖北的西皮調與安徽的二簧調再次交流。徽、秦、漢的合流,為京劇的誕生奠定了基礎。
二、形成期
道光二十年至鹹豐十年(1840年-1860年)間,經徽戲、秦腔、漢調的合流,並藉鑒吸收昆麯、京腔之長而形成了京劇。其標志之一:麯調板式完備豐富,超越了徽、秦、漢三劇中的任何一種。唱腔由板腔體和麯牌體混合組成。聲腔主要以二簧、西皮為主;之二,行當大體完備;之三,形成了一批京劇劇目;之四,程長庚,餘三勝、張二奎為京劇形成初期的代表,時稱“老生三傑”、“三鼎甲”即:“狀元”張二奎、“榜眼” 程長庚、“探花”餘三勝。他們在演唱及表演風格上各俱特色,在創造京劇的主要腔調西皮、二簧上和京劇戲麯形式上,以及具有北京語言特點的說白、字音上,做出了卓越貢獻。第一代京劇演員中,尚有老生盧勝奎、薛印軒、張汝林、王九齡等;小生竜德雲、徐小香;旦鬍喜祿、羅巧福、梅巧玲:醜楊鳴玉、劉趕三;老旦郝蘭田、譚志道;淨朱大麻子,任花臉等,他們為豐富各個行當的聲腔及表演藝術,均有獨特創造。後任‘四喜班’班主的梅巧玲,勇於突破青衣、花旦的嚴格分工舊規,為旦角的演唱藝術開闢了一條新路。
《同光名伶十三絶》是京劇史上的一幅名伶彩色劇裝寫真畫，由晚清民間畫師瀋蓉圃繪製。他參照了清代中葉畫師賀世魁所繪《京腔十三絶》戲麯人物畫的形式，挑選了清同治、光緒年間（l860至1890）京劇舞臺上享有盛名的十三位演員，用工筆重彩把他們扮演的劇中人物描繪出來，顯示了作者的深厚功力。此畫於民國三十二年(1943年)，由進化社朱復昌在書肆收購,經縮小影印問世,並附編《同光名伶十三絶傳》一册。
三、 成熟期
1883年一1918年,京劇由形成期步入成熟期,代表人物為時稱“老生後三傑”的譚鑫培、汪桂芬、孫菊仙。其中譚鑫培承程長庚、餘三勝、張二奎各傢藝術之長,又經創造發展,將京劇藝術推進到新的成熟境界。譚在藝術實踐中廣徵博採,從昆麯、梆子、大鼓及京劇青衣、花臉、老旦各行中藉鑒,融於演唱之中,創造出獨具演唱藝術風格的“譚派”，形成了“無腔不學譚”的局面。二十年代後的餘叔岩、言菊朋、高慶奎、馬連良等,均在宗“譚派”的基礎上發展為各自不同的藝術流派。汪桂芬,藝宗程長庚,演唱雄勁沉鬱,悲壯激昂，腔調樸實無華,有“虎嘯竜吟”的評道, 他因“仿程可以亂真”,故有“長庚再世”之譽。孫菊仙,18歲時選中武秀纔,善唱京劇,常入票房演唱,36歲後投師程長庚。他噪音宏亮,高低自如。念白不拘於湖廣音和中州韻,多用京音、京字,聽來親切自然。表演大方逼真,接近生活。“老生後三傑”師承各有側重,藝術風格各異,從全面權衡,譚鑫培文武昆亂不擋,藝術造詣及對京劇的發展,遠遠超過汪、孫。光緒年間,譚鑫培被稱之為“伶界大王”,在劇界地位,如當年之程長庚。鹹豐十年(1861年)京劇始入宮廷演出。當年五月初六起至月末,分由三慶班、四喜班、雙奎班及外班(京劇班)演出。光緒九年(1883年),慈禧五旬壽日,挑選張淇林、楊隆壽、鮑福山、彩福祿、嚴福喜等18人入宮當差,不僅演唱,且當京劇教習,嚮太監們傳授技藝。自此,清宮掌管演出事務的機構“升平署”,每年均選著名藝人進宮當差,結止宣統三年(1911年)，計有譚鑫培、楊月樓、孫菊仙、陳德霖、王楞仙、楊小樓、餘玉琴、朱文英、王瑤卿、龔雲甫、穆鳳山、錢金福等生、旦、淨、醜的名傢 150餘人曾入宮。由於慈禧嗜好京劇,加之京劇名傢頻繁在宮中獻藝,聲勢日強。同期,位於大柵地區的廣德樓、三慶園、慶樂園、中和園、文明園等戲園、日日有京劇演出,形成了京劇一統的局面。京劇成熟期,除“老生後三傑”外,生行尚有許蔭棠、賈洪林;武生俞菊笙、楊隆壽;淨行何佳山、黃潤甫、金秀山、裘桂仙、劉永春等;小生王楞仙、德珺如、陸華雲:旦行陳德霖、田桂鳳、王瑤卿、朱文英;醜行王長林、張黑、羅百歲、蕭長華、郭春山。這一時期,旦角的掘起,形成了旦角與生角並駕齊驅之勢。武生俞菊笙,開創了武生自立門戶挑梁第一人,他被後人稱為“武生鼻祖”。上述名傢,在繼承中有創新發展,演唱技藝日臻成熟, 將京劇推嚮新的高度。
四、鼎盛期
1917年以來,京劇優秀演員大量涌現,呈現出流派紛呈的繁盛局面,由成熟期發展到鼎盛期,這一時期的代表人物為楊小樓、梅蘭芳、餘叔岩。由於文人崇尚的雅文化傳統在20世紀遭遇滅頂之災，京劇達到了它的全盛時期。
1927年,北京《順天吋報》舉辦京劇旦角名伶評選。讀者投票選舉結果:梅蘭芳以演《太真外傳》,尚小雲以演《摩登伽女》,程硯秋以演《紅拂傳》,荀慧生以演《丹青引》,榮獲“四大名旦”。 “四大名旦”脫穎而出,是京劇走嚮鼎盛的重要標志。他們創造出各具特色的藝術風格,形成了梅蘭芳的端莊典雅,尚小雲的俏麗剛健,程硯秋的深沉委婉,荀慧生的嬌昵柔媚“四大流派”,開創了京劇舞臺上以旦為主的格局。武生楊小樓在繼俞菊笙、楊月樓之後,將京劇武生表演藝術發展到新高度,被譽為“國劇宗師”、“ 武生泰鬥”。老生中的餘叔岩、高慶奎、言菊朋、馬連良,20年代時稱“四大須生”。同期的時慧寶、王鳳卿、貫大元等也是生行中的優秀人才。30年代末、餘、言、高先後退出舞臺,馬連良與譚富英、奚嘯伯、楊寶森稱之“四大須生”。女須生孟小鼕,具有較高藝術造詣,頗有乃師餘叔岩的藝術風範。
1936年秋,北京大、中學校愛好京劇者及廣大觀衆給各報寫信,倡議進行京劇童伶選舉。時富連成社社長葉竜章與北平《立言報》社長金達志商妥,由該報發表通告,專門接待各界投票,逐日在報上發表投票數字,並約請“韻石社”幾人來報社監督。規定投票日期為半月,到期查點票數中華戲麯學校和富連成社負責人及《實報》、《實事白話報》、《北京晚報》、《戲劇報》亦派人當場查驗票數。選舉結果,富連成社李世芳得票約萬張,當選“童伶主席”。生部冠軍王金璐,亞軍葉世長;旦角冠軍毛世來,亞軍宋德珠;淨角冠軍裘世戎,亞軍趙德鈺;醜角冠軍詹世甫,亞軍殷金振。選舉結束後,於虎坊橋富連成社舉行慶祝大會,並於當晚在鮮魚口內華樂戲院舉行加冕典禮,由李世芳,袁世海演出了《霸王別姬》。
童伶選舉結束後,仍由《立言報》主持,選出李世芳、張君秋、毛世來、宋德珠為“四小名旦”，“四小名旦”聯抉於長安、新新兩傢戲院演出了《白蛇傳》和《四五花洞》,以示祝賀。
流派紛呈,人才濟濟,是京劇鼎盛期的又一標志。這一時期除楊派(小樓),梅派(蘭芳)、尚派 (小雲)、程派(硯秋)、荀派(慧生)外,旦角中還有筱派(翠花)及宋派(德珠)、張派(君秋);老生行中的餘派(叔岩)、高派(慶奎)、言派(菊朋)、馬派(連良)、奚派(嘯伯)、楊派(寶森)、新譚派(富英);淨行中的金派(少山)、侯派(喜瑞)、郝派(壽臣)以及50年代後産生的裘派(盛戎);小生行中的薑派(妙香)、葉派(盛蘭);老旦行中的龔派(雲甫)、李派(多奎);醜行中的葉派(盛章)等。同期尚有衆多京劇表演藝術傢,如生行中的王鳳卿、時慧寶、王又宸、李洪春、譚小培、李萬春、李少春、高盛麟等;旦行中的閻嵐秋、徐碧雲、朱琴心、趙桐珊、雪豔琴、新豔秋、章遏雲、金少梅、碧雲霞、琴雪芳、王玉蓉、言慧珠、童芷苓、梁小鸞、吳素秋、趙燕俠、杜近芳等;小生中的金仲仁、茹富蘭、程繼先;醜行中的郭春山、慈瑞泉、馬富祿、張春華等。
徽商之班
徽州商人富甲一方，商業的成功引發了文化消費欲望的高漲。隨着社會經濟的發展和戲麯聲腔昆山腔的興起，紛紛蓄養傢班，角色鬥藝，並賣力為乾隆下江南收集聲色歌舞，不惜重金包裝徽劇色藝，客觀上為徽劇進京創造了條件。雄霸明清商界500餘年的徽州商幫以????商出名，黃山歙縣的????商尤其出名，富甲一方。隨着社會經濟的發展和戲麯聲腔昆山腔的興起，江南江北文人士大夫和富商巨賈紛紛蓄養家庭戲班。已經在外地商界嶄露頭角的徽商也紛紛效仿。長期為某個徽州商人所養所用的戲麯班社就被外人稱為“徽班”。徽商廣蓄傢班，安徽沿江一帶、包括古徽州的地方戲事也開始興盛。他們唱昆腔，由於語言的差異而不“諧吳音”，不經意間唱出了一點“地方風味”。於是在青陽腔的影響下，唱出了安徽調 ——“徽昆”，後發展為二簧腔。尤以誕生在安徽安慶市懷寧縣的石牌調最著名。徽州藝人帶着鄉音下揚州，得到了徽商們的親情惠顧和重金扶持。他們或出沒於碼頭街肆，或為徽商富賈所容留。技藝得到發展，鄉音也漸占上風。這時徽班的概念已不完全是“徽商之班”，而開始有了徽調（石牌腔，亂彈調）的含義。
值得一提的是，歙縣大????商江春，是一位品味極高的戲麯鑒賞傢，他酷愛戲麯，傢中常常“麯劇三四部，同日分亭館宴客，客至以數百計”。他把各種名角聚在一起，又讓不同聲腔同臺互補，使異軍突起的徽班具有了博採衆長的開放格局。“亂彈”亂唱，紅火異常。這時最叫彩的是來自安慶的戲麯藝人，清李鬥在《揚州畫舫錄》中就這樣寫道：安慶色藝最優，蓋於本地亂彈，故本地亂彈間有聘之入班者。徽商在商界進一步站穩了腳跟，他們和戲麯藝術的關係也越來越密切。而涌現出大批戲麯傢的“徽班”，也在新的歷史條件下得到了進一步的發展。
“無石不成班”
石牌是安慶市懷寧縣一個古老的集鎮，“無石不成班”的“石”即指這裏，也泛指安慶及其所屬各縣。至清中葉，石牌已成為遠近聞名的商業中心，擁有商傢三千、帆船千艘。江西、福建、湖北等地客商紛紛在此設館駐節。當時的石牌除本地居民外，大都是過往船幫和商戶，在生存問題變得比較輕鬆的時候，他們開始構建自己的市井文化。
石牌當時可供表演的戲劇舞臺多達800處，不僅有戲園、戲樓，還有花戲臺。戲園，在石牌鎮就有3傢。上鎮橫街的長樂大戲院可容納觀衆600多人，專供徽調、皮簧班演出。戲樓通常在祠堂內。祠堂戲樓通常衹唱大戲，每年做鼕至節、族內有人中舉、升官以及族內官紳慶壽等，都要聘戲班在戲樓演出。此外，祠堂大修落成，也必邀班唱戲以示祝賀。《都劇賦》描述：“徽班日失麗，始自石牌”。表明安慶的徽班歷史上曾經出現過輝煌，很多京劇前輩名伶都是這一帶的人，因而有“無石不成班”的說法。
在石牌的彈丸之地涌現出了郝天秀、程長庚、楊月樓等多位開一代風氣的宗師，四大徽班進京，皇帝為安慶藝人精美絶倫的行頭、裝飾驚嘆不已，“安慶色藝最優!”“無石(牌)不成班!”之說一時間廣為流傳。細心的京劇票友不難發現，京劇的唱腔中有很多字辭的發音是與北京方言不相同的，如果你對安慶地區的方言有所瞭解，就會發現， 這些字辭卻與安慶方言裏的發音一模一樣。四大徽班進京之後，石牌藝人仍源源不斷進京，繼續充實四大徽班的演出陣容，至同治年間，石牌藝人進京幾近百人。雖然當時徽班和伶工大批外流，本地徽班也同樣有所發展。
安慶民國初期就有“民衆”大戲院，當時全國京劇名角基本上都在此演出過，他們都帶着“朝聖”的心情來安慶登臺，戲劇大傢曹禺到懷寧石碑鎮，下車第一句話就是“我來朝聖”。京劇界老科班出來的人，不在安慶演上十天，不唱連本，在當時都被認為是沒有發展前途的“角”。從安慶古鎮石牌鄉野間發源的徽劇，走出了古鎮，走到了北京，徽班進京的輝煌歷史光環至今還籠罩着古鎮石牌。安慶是中國較早接受現代文明的城市之一，也是國傢歷史文化名城同時安慶還是享譽世界，極具地方特色的戲劇--黃梅戲的故鄉。程長庚紀念館，位於安慶潛山縣,館內珍藏三百多件珍貴的實物和圖片資料，再現了京劇藝術的發起壯大此外。還有程長庚故居供戲迷瞻仰。
戲班鬥藝
據史料記載，“梨園演戲，高宗（乾隆）南巡時為最盛，而兩淮????務中尤為絶出”。也就是說，官府公事演戲由兩淮????務衙門負責，兩淮????務要蓄養花、雅兩部以備南巡演出大戲。雅部即昆山腔，花部為京腔、秦腔、弋陽腔、梆子腔、羅羅腔、二簧調，統稱亂彈。承擔具體演出任務的戲班大多是由安徽????商出資組建的，叫內班。最初的戲班為????商徐尚志（晉商）出資組建的老徐班，以後????商黃元德（徽商）、張大安、汪啓源（徽商）、程謙德、洪充實（徽商）、江春（徽商）等也相繼組班。徽商江春自立門戶組建了春臺班，為了充實力量，他徵聘四方名旦如蘇州的楊八官、安慶的郝天秀等為春臺班臺柱。郝天秀的表演柔媚動人，直令觀衆銷魂，人稱“ 坑死人”。秦腔名角魏長生擅演花旦，來揚州投靠江春。江春對魏長生極其敬重，演戲一出，贈白銀一千兩。這些名角的加盟，極大地推動了當時揚州京、秦等腔的互相融合、吸收，進一步促進了花部的發展。 三慶班的高朗亭、春臺班的郝天秀都是以“安慶花部合京、秦二腔”享譽江南的。揚州????商為演出需要，還聘請了一些精於詞麯的名傢，提供優厚的條件，長期供養他們。 大洪班和春臺班更是“聚衆美而大備”。一出《桃花扇》費銀16萬，一出《長生殿》費銀至四十餘萬。這種排場除清內廷，其他人實難匹敵。
蘇唱街梨園
徽班進京的出發地在揚州，身懷絶技的優伶們，出發前一定要到位於蘇唱街的梨園總局碰碰頭，商量一下出發日程和演出劇目，並在那裏一起擺個身段、甩兩下水袖、揚幾聲珠圓玉潤的歌喉。有時幹脆排演幾出折子戲，或是《遊園》，或是《思凡》，聲情並茂，婀娜多姿，那時的蘇唱街，十分熱鬧！
蘇唱街，是老揚州惟一保存下來的與戲班直接有關的街道。當年????商徐尚志從蘇州招徠昆腔藝人辦起的揚州第一個昆腔班“老徐班”，就在這條街上。昆麯的老傢在蘇州，所以又有蘇昆之稱，這條小街居留過不少唱蘇昆的藝人，揚州人就把它命名為蘇唱街。
徽班進京
公元1790年，徽班以唱祝壽戲開始進京藝術之旅。 經過多年滄桑，在不斷吸納中，徽班“合五方之音為一致”的同時逐漸失去自己的顔色。徽班的歷史結束了，而脫胎於徽班的京劇終成為享譽世界的藝術瑰寶，對於徽班來說，可謂涅盤 。
三慶班首發獻藝
1790年秋，為慶祝乾隆八旬壽辰，揚州????商江鶴亭（安徽人）在安慶組織了一個名為“三慶班” 的徽戲戲班，由藝人高朗亭率領進京參加祝壽演出。這個徽班以唱二簧調為主，兼唱昆麯、吹腔、梆子等，是個諸腔並奏的戲班。這次北京的祝壽演出規模盛大，從西華門到西直門外高粱橋，每隔數十步設一戲臺，南腔北調，四方之樂，薈萃爭妍。或弦歌高唱，或抖扇舞衫，前面還沒有歇下，後面又已開場，群戲薈萃，衆藝爭勝。在這場藝術競賽當中，第一次進京的三慶徽班即嶄露頭角，引人矚目。三慶班的高朗亭是安徽安慶人，入京時纔十六歲，演旦角，擅長二簧腔，技藝精湛。《目下看花記》稱他：“宛然巾幗，無分毫矯強。不必徵歌，一顰一笑，一起一坐，描摹雌軟神情，幾乎化境。”
四大徽班進京
三慶班進京獲得成功後，又有四喜班、和春班、春臺班等徽班進入北京，並逐漸稱雄於京華的劇壇。這就是所謂的“四大徽班進京”。
四大徽班各有所長，有“三慶的軸子，四喜的麯子，和春的把子，春臺的孩子”的說法，軸子指以連演整本大戲著稱，麯子指擅長演唱昆麯，把子指以武戲取勝，孩子指以童伶見長。
在捧旦之風十分火爆的京城，技藝不凡的高朗亭自然受寵。抵達北京後，他接替原三慶班班主餘老四掌班，一做就是30多年，同時還擔任了京師戲麯界行會組織“精忠廟”的會首，通過精忠廟對北京的戲班、戲園實行行政管理，他也成為梨園領袖。繼高朗亭之後，程長庚、徐小香、楊月樓、劉趕三等人均任過此職。
至嘉慶初，徽班在北京戲麯舞臺上已取得主導地位，據《夢華瑣簿》記載：“戲莊演劇必‘徽班’。戲園之大者，如‘廣德樓’、‘廣和樓’、‘三慶園’、‘慶樂園’，亦必以‘徽班’為主。下此則‘徽班’‘小班’‘西班’，相雜適均矣。”
四大徽班進京獻藝，揭開了200多年波瀾壯闊的中國京劇史的序幕。
在京的各聲腔劇種的藝人，面對徽班無所不能、無所不精的藝術優勢，無力與之競爭，多半都轉而歸附徽班。他們中有京師舞臺各聲腔劇種的名優，如加入春臺班的湖北漢戲名優米喜子、李鳳林，加入四喜班的湖南亂彈（皮黃）名優韓小玉，加入三慶班的北京籍京腔演員王全福等，於是就形成了多種聲腔劇種薈萃徽班之勢。也因此，徽班在諸腔雜奏的過程中，從“兩下鍋”“三下鍋”到“風攪雪”，逐漸側重皮黃戲的演出。
形成與傳播
京劇前身是清初流行於江南地區，以唱吹腔、高撥子、二黃為主的徽班。徽班流動性強，與其他劇種接觸頻繁，在聲腔上互有交流滲透，因此在發展過程中也搬演了不少昆腔戲，還吸收了囉囉腔和其他一些雜麯。清乾隆五十五年（1790），以高朗亭（名月官）為首的第一個徽班（三慶班）進入北京，參加乾隆帝八十壽辰慶祝演出。《揚州畫舫錄》載：“高朗亭入京師，以安慶花部，合京秦二腔，名其班曰三慶。”刊於道光二十二年（1842）的楊懋建《夢華瑣簿》也說：“而三慶又在四喜之先，乾隆五十五年庚戌，高宗八旬萬壽入都祝匣時，稱'三慶徽'，是為徽班鼻祖。”伍子舒在《隨園詩話》批註中則更具體指出是“閩浙總督伍納拉命浙江????商偕安慶徽人都祝釐。”隨後還有不少徽班陸續進京。著名的為三慶、四喜、春臺、和春四班，雖然和春成立於嘉慶八年（1803），遲於三慶十三年，但後世仍並稱之為“四大徽班進京”。
乾隆、嘉慶年間，北京文物薈萃，政治穩定，經濟繁榮，各劇種藝人麇集。北京舞臺昆腔、京腔、秦腔三足鼎立、相互對峙。徽班到京，首先致力於“合京秦二腔”。當時秦腔、京腔基本上同臺演出，“京秦不分”（《揚州畫舫錄》），徽班發揚其博採衆長的傳統，廣泛吸收秦腔（包括部分京腔）的劇目和表演方法，同時繼承了衆多的昆腔劇目（還排演了昆腔大戲《桃花扇》）及其舞臺藝術體製，因而在藝術上得到迅速提高。
徽班本身的藝術特色，是它能夠在爭衡中取勝的主要原因。在聲腔方面，除了所唱二黃調以新聲奪人而外，它“聯絡五方之音，合為一致”（《日下看花記》）；在劇目方面，題材廣阔，形式多樣；在表演方面，純樸真切，行當齊全文武兼重，因此適合廣大觀衆的欣賞要求。
在演出安排上，據《夢華瑣簿》載，四大徽班“各擅勝場”。三慶以“軸子”取勝（連日接演新戲），四喜以“麯子”取勝（善唱昆麯），和春以“把子” 取勝（善演武戲），春臺以“孩子”取勝（以童伶為號召）。在藝術和經營上備有側重點，能夠發揮專長，取得較快進展。至道光後期，徽班已在北京占據優勢。《夢華瑣簿》說："今樂部皖人最多，吳人亞之，蜀人絶無知名者矣。"又說："戲莊演劇必徽班。戲園之大者，如廣德樓、廣和樓、三慶園、慶樂園，亦必以徽班為主。"徽班成長發展的過程，也就是它嚮京劇擅變的過程。這一嬗變的完成，主要標志為徽漢合流和皮黃交融，形成了以西皮、二黃兩種腔調為主的板腔體唱腔音樂體係，使唱念做打表演體係逐步完善。最早隨同徽班進京的漢調演員是米應先（又名米喜子），湖北崇陽人（一說安徽人），生於乾隆四十五年（1780），約於嘉慶年間加入春臺徽班進京演唱，演正生，擅紅生戲，聲望極隆（見《夢華瑣簿》及李登齊《常談叢錄》）。被視為著名漢調演員餘三勝的先驅（當時麯藝唱詞有"亞賽當年米應先"之句）。道光年間（1821-1849），漢調演員至京加入徽班演唱的逐漸增多，著名的有王洪貴、李六。粟海庵居士《燕臺鴻爪集》（約作於道光十二年以前）說："京師尚楚調。樂工中如王洪貴、李六善為新聲稱於時。"楚調即漢調，也就是西皮調。可見當時北京已流行西皮調，王洪貴、李六"善為新聲"，又推動了西皮調的革新發展。在徽、漢演員的共同努力下，逐步實現了西皮與二黃兩種腔調的交融。開始不同的劇目，根據不同的來源，分別唱西皮或二黃；後來，有些戲就兼唱西皮和二黃，甚至在同一唱段中先唱二黃，後轉西皮，並能相互協調，渾然一體。《羅成叫關》（源出徽調《淤泥河》）就是一個例子。聲韻方面，形成"中州韻、湖廣音"的格律，字聲間雜京音、鄂音，兼用北京、湖北兩種四聲調值，分別尖團字音，按照"十三轍"押韻。二黃的伴奏樂器，幾經反復，終於在鹹豐、同治年間（1851-1874）廢笛,而與西皮統一使用鬍琴（定弦不同），但唱吹腔時仍按徽班傳統用笛伴奏。
道光末年，西皮戲大量涌現，徽班中皮黃並奏習以為常。據刊於道光二十五年的楊靜亭《都門紀略》載，三慶班程長庚、四喜班張二奎、春臺班餘三勝和李六、和春班王洪貴等常演的劇目，如《文昭關》《捉放曹》《定軍山》《擊鼓駡曹》《掃雪打碗》等，與嗣後京劇舞臺常見的傳統劇目已大體相同，徽班嚮京劇的擅變到此已基本完成（雖然當時還不稱京劇）。另一種說法，認為譚鑫培成名後（19世紀末、20世紀初）京劇纔算形成。理由是到那時皮黃戲從音樂、表演，到唱念的字音、聲韻，纔具備了嚴格的規範；而在此以前，即程長庚時代，仍屬徽調範疇。
同治六年（1867），京劇傳到上海。新建的滿庭芳戲園從天津約來京班，受到觀衆歡迎。同年，丹桂茶園通過北京的三慶班，又約來大批著名京劇演員，其中有老生夏奎章（夏月潤之父）、熊金桂（熊文通之父），花旦馮三喜（馮子和之父）等。他們都在上海落戶，成為以上海為中心的南派京劇世傢。嗣後，更多的京角陸續南下，知名的有周春奎、孫菊仙、楊月樓、孫春恆、黃月山、李春來、劉永春以及梆子花旦田際雲（響九霄）等，從而使上海成為與北京並立的另一個京劇中心。
在這之前，約在鹹豐初年，上海已有昆班和徽班演出。京劇進上海後，也出現了京徽同臺、京昆同臺以及京梆（梆子）同臺的局面。這對南方京劇特點的形成，起了重要作用。徽班傑出演員王鴻壽（三麻子）到滬後，經常參加京班演出，並把一些徽調劇目如《徐策跑城》、《掃鬆下書》、《雪擁藍關》等帶進了京班，把徽調的主要腔調之一"高撥子"納入到京劇音樂裏，還把徽班的某些紅生戲及其表演方法吸收到京劇中。這對擴大京劇上演劇目和豐富舞臺藝術起了一定作用。此外，梆子藝人田際雲在上海的藝術活動，對南派京劇的發展也有所影響。他的"燈彩戲"《鬥牛宮》等，實為後來"機關布景連臺本戲"的濫筋。從光緒五年（1879）起，譚鑫培六次到滬，後來梅蘭芳等名演員也經常到滬演出，促進了北派、南派京劇交流，加速了京劇藝術的發展。
京劇在進入上海之前，即鹹豐十年（1860）之後，隨商旅往來及戲班的流動演出，很快傳播到全國各地。如天津及其周圍的河北一帶為京劇最早的傳播地區之一。道光末年，餘三勝即在天津活動（他和他父親死後都葬在天津）；醜角演員劉趕三先在天津的票房活動，後來纔到北京"下海"。老生演員孫菊仙也曾經是夭津的票友。山東是徽班進出北京的必經之地，山東幫商人又是北京經濟活動的重要力量，因而山東很早就有京劇演出。麯阜孔府早在乾隆時就有安徽藝人入府演戲。京劇的較早流佈地區還有安徽、湖北和東北三省。至20世紀初，南至閩、粵，東至浙江，北至黑竜江，西至雲南，都有京劇活動。抗日戰爭期間，京劇在四川、陝西、貴州、廣西等地也有了較大發展。
1919年，梅蘭芳率劇團赴日本演出，京劇藝術首次嚮海外傳播；1924年，他再度率劇團到日本演出，1930年，梅又率由二十人組成的劇組到美國訪問演出，取得很大成功。1934年，他應邀去歐洲訪問，在蘇聯演出，受到歐洲戲劇界的重視。此後，世界各地把京劇看成中國的演劇學派。
京劇的形成大約有150年左右。
清乾隆五十五年（1790年）江南久享盛名的徽班"三慶班"入京為清高宗（乾隆帝）的八旬"萬壽"祝壽。徽班是指演徽調或徽戲的戲班，清代初年在南方深受歡迎。繼此，許多徽班接踵而來，其中最著名的有三慶、四喜、春臺、和春，習稱"四大徽班"。他們在演出上各具特色，三慶擅演整本大戲；四喜長於昆腔劇目；春臺多青少年為主的童伶；和春武戲出衆。
徽調多為二黃調、高撥子、吹腔、四平調等，間或亦有西皮調、昆腔和弋腔；而漢調演員演的則是西皮調和二黃調。徽、漢兩班合作，兩調合流，經過一個時期的互相融會吸收，再加上京音化，又從昆麯、弋腔、秦腔不斷汲取營養，終於形成了一個新的劇種--京劇。第一代京劇演員的成熟和被承認，大約是在1840年左右。
京劇從産生以來曾經有過許多名稱。計有：亂彈、簧調、京簧、京二簧、皮簧（皮黃）、二簧（二黃）、大戲、平劇、舊劇、國劇、京戲、京劇等。
【藝術特色】
京劇舞臺藝術在文學、表演、音樂、唱腔、鑼鼓、化妝、臉譜等各個方面，通過無數藝人的長期舞臺實踐，構成了一套互相製約、相得益彰的格律化和規範化的程式。它作為創造舞臺形象的藝術手段是十分豐富的，而用法又是十分嚴格的。不能駕馭這些程式，就無法完成京劇舞臺藝術的創造。由於京劇在形成之初，便進入了宮廷，使它的發育成長不同於地方劇種。要求它所要表現的生活領域更寬，所要塑造的人物類型更多，對它的技藝的全面性、完整性也要求得更嚴，對它創造舞臺形象的美學要求也更高。當然，同時也相應地使它的民間鄉土氣息減弱，純樸、粗獷的風格特色相對淡薄。因而，它的表演藝術更趨於虛實結合的表現手法，最大限度地超脫了舞臺空間和時間的限製，以達到“以形傳神，形神兼備” 的藝術境界。表演上要求精緻細膩，處處入戲；唱腔上要求悠揚委婉，聲情並茂；武戲則不以火爆勇猛取勝，而以“武戲文唱”見佳。
【行當分類】
京劇行當的劃分，除依據人物的自然屬性（性別、年齡）和社會屬性（身份、職業）外，更主要的是按人物的性格特徵和創作者對人物的褒貶態度不同而異。
行當劃分由來已久，對京劇劃分行當影響最大的，當數漢劇。漢劇共分為10種行當：一末、二淨、三生、四旦、五醜、六外、七小、八貼、九夫、十雜。這十種行當所扮演角色的內容，大概是這樣：末是主要的男性角色，就是京劇裏邊的生行；淨與京劇裏的淨是一樣的，指的是花臉；旦就是京劇裏的旦，指的是女角色；貼，是貼旦的簡稱，京劇在早期劃分行當，也包括貼旦在內，指的是比較次要的旦行角色，俗稱二旦，例如現在京劇《紅娘》裏扮演鶯鶯小姐的，就是貼旦。夫，扮演車夫、轎夫、馬童、衙役一類角色。總的說來，漢劇的這十種行當，劃分得比較細緻，為京劇劃分行當，打下了基礎。京劇後來劃分為生、旦、淨、醜四大類型，似乎比較簡化精練，但每個大類之中，又包含若幹小類，所以實際上是把這十種行當都包括在內了。不僅包括在內，而且更為細密嚴謹。唯一不同的是漢劇雖然有了生行，可他的主要行當是末，而不是生。發展到京劇，生行就成為主要行當了。
【人物化妝】
中國傳統戲麯的臉譜，是演員面部化妝的一種程式。一般應用於淨、醜兩個行當，其中各種人物大都有自己特定的譜式和色彩，藉以突出人物的性格特徵，具有“寓褒貶、別善惡”的藝術功能，使觀衆能目視外表，窺其心胸。因而，臉譜被譽為角色“心靈的畫面”。
臉譜的演變和發展，不是某個人憑空臆造的産物，而是戲麯藝術傢們在長期藝術實踐中，對生活現象的觀察、體驗、綜合，以及對劇中角色的不斷分析、判斷，作出評價，纔逐步形成了一整套完整的藝術手法。
據史料記載，臉譜係由唐朝樂舞大面（傳統戲麯角色行當之一，是京劇和某些地方戲中淨的別稱）所戴面具和參軍戲副淨的塗面逐漸演變而來。
中國戲麯理論傢翁偶虹曾撰文說：“中國戲麯臉譜，胚胎於上古的圖騰，濫觴於春秋的儺祭，孽乳為漢、唐的代面，發展為宋、元的塗面，形成為明、清的臉譜。在戲麯形成之後，臉譜與面具仍然交替使用。最明顯的貴州的‘地戲’，江西、安徽的‘儺戲’，西藏的‘藏戲’，無論生旦淨醜，都戴面具，每劇多至百餘，少者亦須數十。‘南昆’裏的神仙鬼怪，一般均戴面具，並不勾畫臉譜。京劇是具有全國性的大劇種，大量發展臉譜，可是加官、財神、魁星、土地、雷公，仍戴面具。從臉譜、面具的混合使用與臉譜譜式的由簡至繁，可以看出中國戲麯纍遞發展的軌跡。”
京劇臉譜與京劇表演藝術一樣，是和演員一起出現在舞臺上的活的藝術。京劇在中國戲麯史上，雖衹有二百餘年的歷史，但與其他戲麯相比，它發展快，流傳廣，深受人民群衆的喜愛，有廣泛的群衆基礎。因此，京劇臉譜在中國戲麯臉譜中具有特殊的地位。
京劇臉譜是一種寫意和誇張的藝術，常以蝙蝠、燕翼、蝶翅等為圖案勾眉眼面頰，結合誇張的鼻窩、嘴窩來刻畫面部的表情。開朗樂觀的臉譜總是舒眉展眼，悲傷或暴戾的臉譜多是麯眉合目。勾畫時以“魚尾紋”的高低麯直來反映年齡，用“法令紋”的上下開合來表現氣質，用“印堂紋”的不同圖案象徵人物性格。 京劇臉譜
京劇臉譜，是具有民族特色的一種特殊的化妝方法。由於每個歷史人物或某一種類型的人物都有一種大概的譜式，就像唱歌、奏樂都要按照樂譜一樣，所以稱為“臉譜”。關於臉譜的來源，一般的說法是來自假面具。
京劇臉譜，是根據某種性格、性情或某種特殊類型的人物為采用某些色彩的。紅色的臉譜表示忠勇士義烈，如關羽、妾維、常遇春；黑色的臉譜表示剛烈、正直、勇猛甚至魯莽，如包拯、張飛、李逵等；黃色的臉譜表示兇狠殘暴，如宇文成都、典韋。藍色或緑色的臉譜表示一些粗豪暴躁的人物，如竇爾敦、馬武等；白色的臉譜一般表示姦臣、壞人，如曹操、趙高等。
京劇臉譜的色畫方法，基本上分為三類：揉臉、抹臉、勾臉。臉譜最初的作用，衹是誇大劇中角色的五官部位和面部的紋理，用誇張的手法表現劇中人的性格、心理和生理上的特徵，以此來為整個戲劇的情節服務，可是發展到後來，臉譜由簡到繁、由粗到細、由表及裏、由淺到深，本身就逐漸成為一種具有民族特色的、以人的面部為表現手段的圖案藝術了。
【發音技巧】
（1）真嗓亦名大嗓、本嗓。京劇演員發音方法之一。演唱時，氣從丹田而出，通過喉腔共鳴，直接發出聲來，稱為真嗓。用真嗓發出的聲音稱真聲。如丹田氣經過喉腔時，演員將喉腔縮小，使之發出比真嗓較高的音調，則稱為假嗓。真嗓與假嗓在行腔時銜接自然，不露痕跡，就能使音域寬廣，高低音運轉自如。京劇的生行（老生、武生、紅生）、淨行、醜行、老旦等行當，在演唱時均用真嗓。小生演唱用假嗓，但念白則用真假嗓結合。
（2）假嗓亦名小嗓、二本嗓。京劇演員發音方法之一。係與真嗓、大嗓、本嗓相對而言。用假嗓發出的聲音稱假聲。發聲時，與真嗓相比喉孔縮小，部位擡高，氣流變細。假嗓發音的音調較真嗓為高。京劇的旦角、小生的演唱均用假嗓，但二者聲音的剛柔力度有所不同。
（3）左嗓，京劇聲樂名詞。主要指男聲中一種不正常的嗓音，能高而不能低，另外聲音剛而扁，圓潤不足，有些專唱高調門的老生或武生，即以此嗓演唱。老生嗓音有純粹左嗓，亦有本嗓而略帶左者。另外，左嗓有時亦用作另一解釋，指嗓音與伴奏樂器不合，即一般所謂的不搭調。
（4）吊嗓亦作調嗓。京劇演員的練唱方法，也是演員唱功鍛煉的步驟之一。演員每天除喊嗓、念白外，還須用鬍琴（或加鼓板等）伴奏，大聲練唱戲中的唱段。有的先用一般調門，然後適當升高。吊嗓的作用：1。通過大聲練唱，使聲音符合在舞臺上演唱的要求，由於不間斷的鍛煉，可使嗓音日益嘹亮圓潤，氣力充沛，口齒清晰有力，並保持耐久能力。2。熟悉伴奏，全面瞭解唱腔和伴奏的關係，共同掌握尺寸，解明麯意，表達麯情，使演唱與伴奏的配合達到水乳交融，進而達成藝術上的相互默契，協調整個唱段的表演風格。
（5）喊嗓，京劇演員練聲方法，通過喊嗓可以鍛煉各個發聲部位，正確地發出各個韻母的本音。喊嗓時間一般在清晨，於空曠地區，大聲喊出“唔”、“伊”、“啊”等單元音，由低而高，由高而低，反復進行。待聲音舒放後，再以唱段進行練習。
（6）丹田音，又名響堂，京劇聲樂名詞。演員歌唱時肺部蓄足氣，小腹用力，氣似從丹田（人身肚臍下約三寸處謂之丹田）發出聲。現在一般傳統演唱戲麯練聲方法，也認為丹田音最能響堂（即聲音送得遠，聽得清）。
（7）雲遮月，京劇聲樂名詞。這是對老生的圓潤而較含蓄的嗓音的一種比喻。這種嗓音，開始聽來似覺幹澀，以後愈唱愈覺嘹亮動聽，使人感到韻味醇厚，潛力無窮，是長期鍛煉而形成的一種優美音質。譚鑫培、餘叔岩的嗓音都屬於這一類型。
（8）塌中，京劇聲樂名詞。演員在中老年時期，由於生理關係，發生失音現象，完全不能歌唱，叫做塌中。有的演員愛護嗓子，到老仍保持元音不變。用假嗓歌唱的演員，老來塌中的較多。
（9）腦後音，京劇發聲的一種。又名背工音。一般發音，氣從丹田而出，經過喉腔共鳴，直接發出來。腦後音雖然同樣氣從丹田，但發音時，喉腔稍加壓縮，打開後咽壁，提高軟顎，將聲音送入頭腔，與鼻音相聚，使聲音迂回在腦後，通過頭腔共鳴，發出一種含蓄渾厚的音調。腦後音發音蒼勁有力，能達遠聞，而近聽又不覺其尖厲。老生和淨角唱腔中，凡遇閉口音（如“一七轍”）的高音，多用此種唱法。旦角唱腔用腦後音者較少，程（硯秋）派唱腔有時用之。
（10）荒腔，亦作黃腔、黃調或涼調。京劇聲樂名詞。指演員唱麯音調不準，習慣上專指略低於調門的變音。大部分都是由於演員先天生理條件所造成，如聲帶變異、耳音不準等。有時也由於練聲不得法所致。
（11）冒調，京劇聲樂名詞。指演員唱麯音調略高於規定的調門。大部分是由於先天生理條件所造成。有的是由於生理條件（如聲帶）臨時發生故障；有時也由於練聲不得法所致。
（12）走板，京劇聲樂名詞。指演員唱麯不符合規定的節拍。京劇唱腔中有一板三眼、一板一眼、流水板等各種不同的板槽，行腔時如背離板眼的規定，失去節拍的分寸，即謂走板。
（13）不搭調，京劇聲樂名詞。指演員唱麯音調或高或低，不合於規定的調門。習稱跑調。
（14）氣口，京劇演唱方法之一。指演員唱麯時吸氣的方法。京劇各種唱腔長短不一，節奏快慢各異，演員須掌握準確吸氣方法，才能唱得從容不迫，優美動聽。氣口包括換氣、偷氣兩種。換氣指唱腔間歇中的吸氣，偷氣是在樂句若斷若續中吸氣而不使聽者覺察。
（15）換氣，京劇演唱方法之一。演唱時凡遇長腔或拔高處，必先吸氣，作好充分準備。換氣不是停腔再唱或明顯稍頓再接唱，而是在行腔吞吐字音的瞬間，乘便呼吸，蓄氣待換。唱腔中在何處換氣，因人而異，一般稱為氣口。
（16）偷氣，京劇演唱方法之一。指換氣時不着痕跡，在觀衆不覺察時偷換。如《捉放曹》中陳宮所唱“馬行在夾道內我難以回馬”，唱完前六字及“內”字長腔，利用“我”這一襯字嚮內“偷”吸一口氣，以便唱足下面“難以回馬”的腔，即謂之偷氣。
（17）嘎調，在京劇唱腔中，凡是用突出拔高的音唱某一字時，習稱嘎調。如《四郎探母》中楊延輝唱“站立宮門叫小番”一句中的“番”字，《定軍山》中黃忠唱“掃明天午時三刻成功勞”一句中的“天”字等，均稱嘎調。
（18）長吭，長（音掌）是增長，吭是嗓音的俗稱，此處指音量。長吭好似加大音量。
（19）砸夯，比喻演員演唱似夯地基時的鼓努為力，含貶意。演員不善於掌握演唱方法，用氣過頭，或使蠻力，演唱（多在尾音）出現笨拙的重音，謂之砸夯。
【伴奏樂器】
京劇伴奏樂器分打擊樂與管弦樂。其中，打擊樂是京劇伴奏樂器中的靈魂。京劇的“唱”、“念”、“做”、“打”完全按照規定的節奏進行，“唱”要有板有眼，“念”要抑揚頓挫，“做”則是舞蹈，而舞蹈必須表現出鮮明的韻律，誰來控製、體現節奏？那就是打擊樂。打擊樂器有板、單皮鼓、大鑼、鐃、鈸等，稱為“ 武場”；管弦樂器有京鬍、京二鬍、月琴、三弦，稱為“文場”。在戲麯舞臺上，人物的一切行動，包括最隱秘的思想活動，都是通過舞蹈化的身段動作、音樂化的念白和演唱，並在音樂的伴奏中進行的，由各種打擊樂器的音響組成的“鑼鼓經”，起着極其重要的作用。有人說，如果“唱”、“念”、“做”、“打”是戲劇的血肉，那麽“鑼鼓經”就是它的骨骼，一陣鑼鼓，既可渲染磅礴的氣勢，又能烘托演員的表演，並且這種對表演的烘托，是非常細緻的，甚至細緻到鼓點子打出演員眼珠的轉動，眼皮的開闔，手指的顫抖。演員表演往往導引出感情表達需要的鑼鼓，鑼鼓（節奏、音響）等的刺激反過來誘發演員的表演激情。
【舞臺道具】
砌末
砌未是大小道具與一些簡單裝置的統稱，是戲麯解决表演與實物矛盾的特殊産物。砌未一詞在金、元時期已有。傳統戲麯舞臺上的砌末包括生活用具（如燭臺、燈籠、扇子、手絹、文房四寶、茶具、酒具），交通用具（如轎子、車旗、船槳、馬鞭等）。武器又稱刀槍把子（如各種刀、槍、劍、斧、錘、鞭、棍、棒等），以及表現環境、點染氣氛的種種物件（如布城、大帳、小帳、門旗、纛旗、水旗，風旗、火旗、蠻儀器仗、桌圍椅披）等。除常用的砌末之外，也可根據演出需要臨時添置。
傳統的砌末，是有意識地區別於生活的自然形態之物。它們不是實物的仿製品，而是實物在戲麯中的一種藝術表現。這也是砌末能夠與動作、形象相結合的一個重要原因。
一桌二椅，在演員沒有上場以前，桌椅衹是一種抽象的擺設。如演出皇帝視朝，這張桌子便成了視朝時所需的禦案；縣宮坐衙，這張桌子便成了坐衙時所需的公案；朋友宴會，便成了宴會時所需要的酒席。以上是實物實用，但戲麯舞臺上的桌椅還可以做代用品。比如用桌子代替山石，人要上山，就站在桌子上，如果這山很高，就用兩張桌子疊起來。要跳墻，就用桌子當墻；要睡覺，將身伏在桌上，用手支住頭。至於椅子所代替的就更多了。舞臺上表示從矮山爬到高山去，是從椅子了再登到桌子上，椅子還可以代替窯門，代替牢門等等。桌椅無論代表什麽，都是妙在似與不似之間。如戲麯中的布城雖然比較簡陋，但决不追求城的真實再現。布城可以根據城的需要自由調度。
旗幟在舞臺上使用很多，如正方形帥字旗、長方形三軍令旗、大纛旗（古代軍隊裏的大旗），都是表示元帥及大本營所在地的。還有水旗、火旗、風旗、車旗等等，這些旗幟是在白色方旗上繪緑色水紋、火焰、風、車輪等等。演員執旗，略微顫動，就可以表示波浪起伏、着火、起風、乘車。
戲麯舞臺上並不回避"露假"，也不要求一一寫實。揚鞭以代馬，搖槳以代船。在舞臺上有廣阔的空間供演員活動，應當細緻的地方盡力描繪，不必要的場面，一個圓場就過去了，這種虛擬的方法與中國戲麯的表演風格是相一致的。
【名詞解釋】
（1）工尺，戲麯音樂名詞。泛指戲麯麯譜上麯詞右側所註音階符號。我國傳統民族音樂，以“合、四、上、尺、工、凡、六”等字作為音階的符號，相當於西洋音樂的 “56712345”。習慣上把這些符號統稱為“工尺”。有的麯譜，麯詞旁衹註板眼（拍子），不註工尺。有工尺的麯譜，名為工尺譜。
（2）板眼，戲麯音樂名詞。傳統唱麯時，常以鼓板按節拍，凡強拍均擊板，故稱該拍為板。次強拍和弱拍則以鼓簽敲鼓或用手指按拍，分別稱為中眼、小眼（在四拍子中前一弱拍稱頭眼或初眼，後一弱拍稱末眼）。合稱板眼。
（3）過門，京劇音樂名詞。指在唱句與唱句之間，唱段與唱段之間的間奏音樂。唱句與唱句之間常用小過門兒，唱段與唱段之間常用大過門。但由於板式不同，亦有不少例外，並無固定模式。
（4）挂兒，京劇音樂名詞。挂兒是“過兒”的諧音，專指在唱段與唱段之間的大過門，一般多指華彩的間奏音樂。在唱句與唱句之間的小過門不稱挂兒。
（5）墊頭，京劇音樂名詞。指在樂匯與樂匯間起搭橋作用的旋律稱為墊頭或小墊頭，亦名橋。墊頭旋律較短，一般衹有二、三拍，起前後銜接作用。
（6）行旋，京劇音樂名詞。指在演員表演動作或對話、獨白時的襯托音樂。行旋多為麯牌或簡單旋律的反復演奏，主要起烘托氣氛的作用。
（7）調門，指演員歌唱時的音高。凡用弦樂器伴奏，都根據演員嗓音的高度自由定調。京劇調門，一般以正宮調為適度，最高的唱乙字調，最低的凡字調，俗稱趴字調。同一劇中，兩個主要演員音高不同，有時互相遷就，有時臨時長（提高）調門或落（降低）調門。
（8）調面，演員唱的音高與伴奏樂器（鬍琴、笛子等）的音高相同，叫做調面。意思是按照“調門”的表面歌唱。調面係針對調底而言。在一般情況下，演員都唱調面。
（9）調底，演員唱的音高比伴奏樂器（鬍琴、笛子等）的音高低八度，叫做調底。意思是按照調門的底音歌唱。調底係針對調面而言。京劇的某些唱腔，如娃娃調的腔調經常翻高，如將調門定高，演員嗓音不及，如將調門定低，樂器音量有過小，乃采用調底的唱法，把樂器定高八度，演員以低八度的音來歌唱。
（10）定弦，指弦樂器（鬍琴、阮等）定“調門”的高低。一般都以笛子作為定弦的標準。
（11）乙字調，京劇音樂名詞。工尺譜所用調門之一。定弦時，以笛子小工調的“乙”音（開啓第五孔，吹高音），定鬍琴的“工”音（西皮調外弦的敞弦）。乙字調為京劇的最高調門。
（12）工正調，亦作正宮調。京劇根據笛的音高定鬍琴的調門，西皮外弦與笛正宮調的工音同高的稱為正宮調。比正宮調高出一度的稱乙字調，高出半度的稱工半調，比正宮調低一度的稱六字調，低半度的稱六半調，低二度的俗稱趴字調。
（13）工半調京劇調門之一。略高於正宮調，略低於乙字調。定弦時比照笛子的正宮調定音而略升高。
（14）軟工調，京劇調門之一。略低於正宮調，而較六字調稍高。定弦時比照笛子的正宮調定音而略降低。
（15）六字調，京劇調門之一。定弦時，以笛子小工調的“六”音（六孔全閉，吹高音），定鬍琴的“工”音（西皮調外弦的敞弦）。六字調為京劇中低於正工調，高低適度的調門。
（16）趴字調，亦作扒字調。京劇調門之一。凡低於六字調一度以上的統稱趴字調。
（17）走邊，“走邊”的來源一說源於晉劇《白虎鞭·走邊》中的舞蹈身段；一說是因為凡走邊的人物因怕人看見而多在墻邊、道邊潛身夜行，故而稱“走邊”。一般來說，《惡虎村》的黃天霸走邊最難。《夜奔》的林衝走邊最纍，《蜈蚣嶺》的武鬆走邊最吃功夫。
（18）趟馬，由於京劇中多以馬鞭來代替馬，或作為騎馬的象徵，因此凡手持馬鞭揮舞着上場後運用圓場、翻身、臥魚、砍身、摔叉、掏翎、亮相等技巧連續做出打馬、勒馬或策馬疾馳的舞蹈動作的組合就是京劇的趟馬。
【名傢大師】
京劇形成以來，涌現出大量的優秀演員，他們對京劇的唱腔、表演，以及劇目和人物造型等方面的革新、發展做出了貢獻，形成了許多影響很大的流派。如老生:程長庚、餘三勝、張二奎、譚鑫培、汪桂芬、孫菊仙、汪笑儂、劉鴻聲、王鴻壽、餘叔岩、高慶奎、言菊朋、周信芳、馬連良、楊寶森、譚富英、李少春等；小生:徐小香、程繼先、薑妙香、葉盛蘭等；武生俞菊笙、黃月山、李春來、楊小樓、蓋叫天、尚和玉、厲慧良等；旦角:梅巧玲、餘紫雲、田桂鳳、陳德霖、王瑤卿、梅蘭芳、程硯秋、荀慧生、尚小雲、歐陽予倩、馮子和、筱翠花、張君秋、張火丁等、老旦龔雲甫、臥雲居士、李多奎、李金泉等；淨角:穆鳳山、黃潤甫、何桂山、裘桂仙、金少山、裘盛戎等；醜角:劉趕三、楊鳴玉、王長林、蕭長華等。此外還有著名琴師:孫佑臣、梅蘭田、徐蘭沅、王少卿、楊寶忠等；著名鼓師杭子和、白登雲、王燮元等。
京劇流派：
老生·小生·武生·旦角·老旦·淨角·醜角·琴師·鼓師
【京劇的特色】
特色
中國的戲麯與希臘悲劇和喜劇、印度梵劇並稱為世界三大古老的戲劇文化。
歷史上最先使用戲麯這個名詞的是宋劉塤（1240-1319），他在《詞人吳用章傳》中提出“永嘉戲麯”，他所說的“永嘉戲麯”，就是後人所說的“南戲”、“戲文”、“永嘉雜劇”。從近代王國維開始，纔把“戲麯”用來作為中國傳統戲劇文化的通稱。
戲麯是一門綜合藝術，是時間藝術和空間藝術的綜合，這種綜合性是世界各國戲劇文化所共有的，而中國戲麯的綜合性特別強。
中國戲麯是以唱、念、做、打的綜合表演為中心的戲劇形式，它有豐富的藝術表現手段，它與表演藝術緊密結合的綜合性，使中國戲麯富有特殊的魅力。它把麯詞、音樂、美術、表演的美熔鑄為一，用節奏統馭在一個戲裏，達到和諧的統一，充分調動了各種藝術手段的感染力，形成中國獨有的節奏鮮明的表演藝術。
中國戲麯中最重要的一點特徵是虛擬性。舞臺藝術不是單純模仿生活，而是對生活原形進行選擇、提煉、誇張和美化，把觀衆直接帶入藝術的殿堂。
中國戲麯另一個藝術特徵，是它的程式性，如關門、上馬、坐船等，都有一套固定的程式。程式在戲麯中既有規範性又有靈活性，所以戲麯藝術被恰當地稱為有規則的自由動作。
綜合性、虛擬性、程式性，是中國戲麯的主要藝術特徵。這些特徵，凝聚着中國傳統文化的美學思想精髓，構成了獨特的戲劇觀，使中國戲麯在世界戲麯文化的大舞臺上閃耀着它的獨特的藝術光輝。
中國戲麯，起源於原始歌舞，是一種歷史悠久的綜合舞臺藝術樣式。它由文學、音樂、舞蹈、美術、武術、雜技以及表演藝術綜合而成，約有三百六十多個種類。它的特點是將衆多藝術形式以一種標準聚合在一起，在共同具有的性質中體現其各自的個性。比較著名的戲麯種類有：京劇、昆麯、越劇、豫劇、粵劇、川劇、秦腔、評劇、晉劇、漢劇、河北梆子、湘劇、黃梅戲、湖南花鼓戲等。
昆麯：又稱“昆腔”、“昆劇”，是一種古老的戲麯劇種。它源於江蘇昆山，明中葉後開始盛行。昆麯的風格清麗柔婉、細膩抒隋，表演載歌載舞，是中國古典戲麯的代表。2001年，昆麯被聯合國教科文組織列為“人類口頭與非物質類文化遺産”。代表作《十五貫》《紅霞》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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