Similarly, a character will sweep their hand in an arc from left to right in order to indicate an object on the right. A character looking upon an object above them will sweep their eyes in a circular motion from low to high before landing on the object. Every motion and pose is carefully manipulated to avoid sharp angles and straight lines. The most common stylization method in Beijing opera is roundness. The literal aspects of scenes are removed or stylized to better represent intangible emotions and characters. Beijing opera should be suggestive, not imitative. Experts of the art form contrast the principles of Beijing opera with the principle of Mo, mimesis or imitation, that is found in western dramas. Beijing opera does not aim to accurately represent reality. However, in accordance with the overriding principle of beauty, such behaviors are stylized to be presented on stage. Many performances deal with behaviors that occur in daily life. Some conventions, such as the pantomimic opening and closing of doors and mounting and descending of stairs, are more readily apparent. For example, walking in a large circle always symbolizes traveling a long distance, and a character straightening his or her costume and headdress symbolizes that an important character is about to speak. This includes conventions of movement, which are used to signal particular actions to the audience. Much attention is paid to tradition in the art form, and gestures, settings, music, and character types are determined by long held convention. One skill may take precedence at certain moments during a play, but this does not mean that other actions should cease. The four skills of Beijing opera are not separate, but rather should be combined in a single performance. Additionally, performers are taught to create a synthesis between the different aspects of Beijing opera. Indeed, performers are strictly criticized for lacking beauty during training. The highest aim of performers is to put beauty into every motion. All of these skills are expected to be performed effortlessly, in keeping with the spirit of the art form.īeijing opera follows other traditional Chinese arts in emphasizing meaning, rather than accuracy. The final skill is combat, which includes both acrobatics and fighting with all manner of weaponry. This includes pure dance, pantomime, and all other types of dance.

Beijing opera performers utilize four main skills.

Chinese peking opera characters