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CHINESE FESTIVAL/THEATER ART
CHINESE PEKING OPERA
Peking Opera or Beijing Opera combines music, vocal performance, pantomime, dance, and
acrobatics. During the Qing Dynasty court, it became extremely popular and came to be regarded as one
of the cultural treasures of China. Pupils were often handpicked at a young age by a teacher and trained
for seven years on contract with the child’s parents. Students of these schools rose as early as five
o’clock in the morning for exercises. Daytime was spent learning the skills of acting and combat, and
senior students performed in outside theaters in the evening.
Visual Performance Elements

Peking-opera performers utilize four main skills:
1. Song
2. Speech
3. Dance-acting - This includes pure dance, pantomime, and all other types of
dance.
4. Combat - includes both acrobatics and fighting with all manner of weaponry.
Stages:
1. Square platforms, the action on stage is usually visible from at least three sides
2. Stages were built above the line of sight of the viewers, but some modern stages have
been constructed with higher audience seating
3. Divided into two parts by an embroidered curtain called a shoujiu.
Costume:
Xingtou – popularly known as Xifu in Chinese. Origins of Peking Opera costumes can be
traced back to the mid-14th century. Costumes enable the audience to distinguish a character's
sex and status at first glance if noble or humble, civilian or military, officials or private citizens.
They also give expression to sharp distinctions between good and evil or loyal and wicked
characters. The oblong wings (chizi) attached to a gauze hat indicate a loyal official. In contrast, a
corrupt official is made to wear a gauze hat with rhomboidal wing.
Props:
Peking Opera utilizes very few props. Performances will almost always have a table and at
least one chair, which can be turned through convention into such diverse objects as a city wall, a
mountain, or a bed. A whip is used to indicate a horse and an oar symbolizes a boat.
Musicians:
Musicians are visible to the audience on the front part of the stage.
Viewers:
Always seated south of the stage, therefore, north is the most important direction.
Performers:
Immediately move to center north upon entering the stage. All characters enter from the
east and exit from the west.
CHINESE SPRING NEW YEAR FESTIVAL
This festival is the longest and the most important festivity in the Chinese calendar. Since the
spring season in Chinese calendar starts with lichun, the first solar term in Chinese calendar year, and it
marks the end of the winter season.
The origin of Chinese New Year is itself centuries old and gains significance because of several
myths and traditions. Chinese New Year is celebrated in countries and territories with significant Chinese
populations, like: Mainland China, Hong Kong, Macau, Taiwan, Singapore, Thailand, Indonesia, Malaysia,
Mauritius, Philippines, Vietnam.
Part of the celebration is the dragon dancing. The dragon dance has been indispensable to
Chinese festivals since ancient times. With the spread of Chinese people and culture all over the world,
the dragon dance has been brought to every corner of the world where there are overseas Chinese
gathered (Cindy, 2021). It has become a symbol of Chinese culture and the dragon symbolizes power,
strength and good luck.
KABUKI
Kabuki is a form of traditional Japanese drama with highly stylized song, mime, and dance, now
performed only by male actors. Japanese used this as a verb meaning “act dissolutely,” later interpreting
the word as “ka” for song, “bu” for dance, and “ki” for art/ skill.
Kabuki’s highly lyrical plays are regarded, with notable exceptions, less as literature than as
vehicles for actors to demonstrate their enormous range of skills in visual and vocal performance. These
actors have carried the traditions of Kabuki from one generation to the next with only slight alterations.
Many of them trace their ancestry and performing styles to the earliest Kabuki actors and add a
“generation number” after their names to indicate their place in the long line of actors (Britannica).
Visual Elements of Kabuki:

• Mie - in which the actor holds a picturesque pose to establish his character and his house
name yagō, is sometimes heard in a loud shout (kakegoe) from expert audience member,
serving both to express and enhance the audience's appreciation of the actor's
achievement. An even greater compliment can be paid by shouting the name of the actor's
father.
• Keshō Actors are separated into two main categories:

▪ Onna-gata - female roles and;
▪ Aragoto - male roles.
• Most main characters in Kabuki plays are aragoto, because of its super-stylized masculine,
heroic style.
• The play occupies five acts. Some parts correspond to:

▪ jo, an auspicious and slow opening which introduces the audience to the
characters and the plot.
▪ ha, speeding events up, culminating almost always in a great moment of drama
or tragedy in the third act and possibly a battle in the second and/or fourth acts.
▪ kyu, is almost always short, providing a quick and satisfying conclusion.
Kabuki props are often quite interesting. Flowing water is usually represented by fluttering roles of
linen; and creatures like insects and foxes. Props often have symbolic meanings. Fans are used to
symbolize wind, a sword, a tobacco pipe, waves or food. Costumes are swung from sticks or manipulated
by helpers who come on stage dressed in black hooded robes so they are invisible to the audience.
The female characters generally wear an elaborate kimono and obi. Pleated hakuma trousers are
worn by characters of sexes. Actors playing both sexes often have a supported midriff because a straight
and curve less figure are regarded the essence of beauty. Costume changing is considered as an art.
There are special teams that take care of complete and partial costume changes and are done as part of
the performances.
Wigs are important accessories, with each costume having its own type. Specialized craftsmen
shape the wigs to the head. Wigs are made of human hair or horse hair or, bear fur or yak-tail hair
imported from Tibet.
TAIKO DRUM FESTIVAL
A good example of a professional taiko drumming troupe in Japan is the Kodo. They are based in
Sado Island, Japan, and they had a big role in popularizing taiko drumming, both in Japan and abroad.
They regularly tour Japan, Europe, and the United States. Their name, "Kodo" conveys two meanings:
1. "heartbeat" the primal source of all rhythm and, read in a different way;
2. "children of the drum," a reflection of Kodo's desire to play their drums simply, with the heart of
a child.
The main focus of the performance:

▪ Uchite is the Taiko drummer
▪ Different drums such as taiko, and o-daiko
▪ Other traditional Japanese musical instruments such as fue and shamisen make an
appearance on stage
Traditional dance and vocal performance are part of the Taiko Drum performances which include
pieces based on the traditional rhythms of regional Japan, pieces composed for Kodo by contemporary
songwriters, and pieces written by Kodo members themselves. Kodo's performances normally last for
about one hour and forty minutes.
In history, drums were used in ancient times to signify the boundaries of a village. Peasant events
such as the rice harvests or dance festivals were celebrated with drums. Drums were also used to pray
for rain and other religious ceremonies. Additionally, drums lead warriors into battles in order to scare off
the enemy.
(Please study this note and answer the quiz on this link: )
(Also prepare for an actual quiz on this lesson/ topic.)

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CHINESE FESTIVAL/THEATER ART

CHINESE PEKING OPERA

Visual Performance Elements

Visual Elements of Kabuki:

• Keshō Actors are separated into two main categories:

• The play occupies five acts. Some parts correspond to:

TAIKO DRUM FESTIVAL

The main focus of the performance:

(Also prepare for an actual quiz on this lesson/ topic.)

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