The five most important female roles are: 1) “laodan” (respected elderly mothers or aunts) 2) “qinyi” (aristocratic ladies, in elaborate costumes) 3) “huadan” (female servants, in bright costumes) 4) “daomdan” (female warriors) and 5) “caidan” (female comedians). Male roles are divided into four categories: 1) “laosheng” (old men with beards) 2) “xiaosheng” (young men) 3) “wensheng” (scholars and bureaucrats) and 4) “wusheng” (fighters, who often do the acrobatic roles). The role types (hangdang) usually fall into one of four categories: 1) “sheng” (male roles such as scholars, soldiers and officials) 2) “dan” (female roles such as mothers, maids and female warriors) 3) “jing” (painted face characters such as demons, adventurers and heroes) and 4) “fujing” (clowns). All the attention is focused on the actors, who play roles that everyone familiar with Peking Opera recognizes.
The Los Angeles Times describe on young actor who came from a family of actors that was forced to carry the tradition by his mother who named him “Jirong,” which means “to continue.”įew props are used in a Peking Opera. Many actors have traditionally come from families that have produced actors for five or six generations. More importance is often given to the actions of the actors than their roles.
They do not deliver lines like Western actors but act them out in every sense of the word using exaggerated movements and facial expressions and even elaborate physical stunts. Peking Opera actors are as much dancers and acrobats as they are actors.
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