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The Fragrance of the Chrysanthemum Garden? –The Beauty of Peking Opera In 1790, the fifty-fifth year of the Qianlong Emperor’s reign, Anhui provincial opera troupes converged on Beijing to take part in celebrations for the emperor’s birthday. The arrival in the capital of what were known as the ‘Four Great Anhui Troupes’, which included the ‘Three Celebrations’, ‘Four Happinesses’, ‘Harmonious Spring’ and ‘Spring Stage’ troupes, was the prelude to the birth of Peking Opera. The event was hugely significant in the history of the opera’s development.? ? In Chinese, the world of Peking Opera is often referred to as either the Pear Garden or the Chrysanthemum Garden. Whatever you call it, Peking Opera is certainly a jewel of traditional Eastern culture. Created in the middle of the 19th Century, it’s been in existence for nearly two hundred years. Based on the popular opera forms of Anhui and Hubei provinces, as it evolved it absorbed the best elements of ancient kunqu opera, Shaanxi Province’s qinqiang and other traditional Chinese operas. The influence of the patronage of the imperial court can be seen in its sumptuous, elegant, and refined style of presentation. Combining the achievements of different Chinese opera styles, as well as those of Chinese poetry, music and other arts, ?Peking Opera may be called the quintessence of Chinese culture.?
Peking Opera is profoundly influenced by traditional Chinese culture. Free, vigorous and inspired performance vividly conjures up the external world in all its variety. Stories are told in song and dance: singing, recitation, gesture and martial arts are all means by which the actors convey the rich inner worlds of their characters.?
Peking Opera is an art governed by aesthetic rules of expression. Characters who appear on stage fall into the broad categories of sheng, male roles, dan, female roles, jing, ‘painted faces’ and chou, clowns. Within each of these categories there are many sub-types. The actors create a rich repertoire of performance styles within their specialized roles.
For the most part, the music of the Peking Opera consists of two types of basic melodies known as xipi and erhuang. The jinghu, a two-stringed fiddle, is the leading instrument in the Peking Opera orchestra. The percussionist, meanwhile, plays a role much like that of conductor.
The painted masks of Peking Opera are visually symbolic. The colours and patterns not only indicate different characters but also their age and personality. Red, white, black, blue, and yellow are the main colours used. In Peking Opera, red indicates loyalty and white signals treacherousness.?
In its nearly two centuries of history, Peking Opera has produced many brilliant artists. Tan Xinpei, nicknamed the King of Actors, was a key transitional figure in the development of laosheng, or older male roles. Then there was Yang Xiaolou, the ‘Master of the Martial Arts Role’. Perhaps the most famous of all was Mei Lanfang, a revered male player of female roles who achieved international reknown. He was one of a group known as the ‘Four Great Players of Female Roles’. The others include Cheng Yanqiu, Shang Xiaoyun and Xun Huisheng. Together with Ma Lianliang, widely acclaimed as one of the ‘Four Great Players of Older Male Roles’, they made the first half of the 20th Century the golden age of Peking Opera.?
UNESCO today recognises Peking Opera as part of the protected Intangible Heritage of Humanity. It faces many challenges today, including that of attracting younger audiences. But thanks to the efforts of its artists, the opera is still evolving and its star continues to shine.?
菊 苑 流 芳 聲音時(shí)長(zhǎng)要求：京劇專(zhuān)題片，配音內(nèi)容一共688個(gè)字，要求時(shí)長(zhǎng)控制在四分鐘內(nèi)讀完，語(yǔ)速要有節(jié)奏的變化，適當(dāng)時(shí)候可留足氣口。 聲音調(diào)性要求：大氣渾厚，能托起京劇的畫(huà)面主題。 聲音參考：見(jiàn)附件中聲音的參考
京劇，是古老東方的一顆藝術(shù)明珠，她形成于19世紀(jì)中葉的北京，至今已有近二百年的歷史。她在徽調(diào)和漢戲的基礎(chǔ)上，吸收了昆曲、秦腔等戲曲劇種的優(yōu)點(diǎn)演變而成，在形成的階段便受到當(dāng)時(shí)宮廷的影響，在表演風(fēng)格和表現(xiàn)手段方面呈現(xiàn)出富麗堂皇、高雅別致的風(fēng)范?？胺Q(chēng)中國(guó)戲曲集大成者，因此被譽(yù)為國(guó)“粹”。
京劇深受中國(guó)傳統(tǒng)文化的影響，自由灑脫，通過(guò)寫(xiě)意的表演，形象地表現(xiàn)千變?nèi)f化的外部世界，用唱、念、做、打等綜合手段，載歌載舞地?cái)⑹龉适?，形象地展現(xiàn)劇中人物豐富的內(nèi)心世界。
京劇是規(guī)定的表現(xiàn)手法的藝術(shù)，舞臺(tái)上的人物，主要分為生、旦、凈、丑四大行當(dāng)，每個(gè)行當(dāng)之中，又各有分支。而演員們也根據(jù)不同的行當(dāng)，創(chuàng)造出類(lèi)型豐富的表演。 京劇的音樂(lè)，主要由“西皮”和“二黃”兩種基本腔調(diào)組成，京胡，是樂(lè)隊(duì)伴奏的主要樂(lè)器。鼓師，相當(dāng)于樂(lè)隊(duì)的指揮。
中國(guó)戲曲的臉譜長(zhǎng)期以來(lái)被視作是一種視覺(jué)符號(hào)，通過(guò)不同的色彩和紋飾，體現(xiàn)不同的人物，以及人物的年齡、性格。臉譜的色彩主要分為紅、白、黑、藍(lán)、黃等顏色。紅色，在京劇中被視作是忠義的表現(xiàn)而白色則代表奸詐。
在京劇近200年的歷史中，出現(xiàn)過(guò)很多中國(guó)最頂尖的藝術(shù)家。譚鑫培，被譽(yù)為“伶界大王”，是京劇老生行當(dāng)中承上啟下的一位重要人物。楊小樓，被譽(yù)為“武生宗師”，對(duì)后世武生行當(dāng)?shù)陌l(fā)展具有極大的影響力。梅蘭芳，是一個(gè)在世界范圍都極具影響力的響亮名字，他和程硯秋、尚小云、荀慧生合稱(chēng)“四大名旦”；馬連良是廣受贊譽(yù)的“四大須生”之一，曾經(jīng)與“四大名旦”一起，開(kāi)啟了一個(gè)屬于中國(guó)京劇的輝煌時(shí)代。
今天，京劇已經(jīng)入選聯(lián)合國(guó)教科文組織保護(hù)非物質(zhì)文化遺產(chǎn)名錄，并在當(dāng)代藝術(shù)家們的努力下，煥發(fā)出更加奪目的光彩。
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