Taipei is a stage for many different performing arts, among which is Beijing opera. Inherited from mainland China, this form is a composite of dramatic theater, music, dance, and acrobatics. Because of its resemblance to Western opera, and the classic status of each in their respective culture, it is often called “Oriental opera” in the West.
Beijing opera was created in Beijing during the Qing Dynasty. Called “capital opera”(京剧) in the old days, it spread throughout mainland China. In 1949, when the country split and the Republic of China government came to Taiwan, many Beijing opera performers joined the exodus. Attaching importance to the continued development of the form, the government established numerous opera troupes in the military, gathering the best and most famous actors in Taiwan, whose frequent performances laid the development foundation for Beijing opera here. The National Fu Hsing Dramatic Arts Academy (国立复兴剧校), opened privately but later taken over by the government, also served as an incubator for outstanding new talent, supporting the flourishing of Beijing opera in Taiwan.
Taipei, Taiwan’s Inheritor of the Beijing Opera Tradition
Taipei is Taiwan's key center in the preservation of the Beijing opera art form. Each year the Taipei City Government presents the Taipei Master of Traditional Arts Awards (台北市传统艺术艺师奖) to opera actors. Dai Qixia (戴绮霞) and Cao Fuyong (曹复永), who were honored in 2012, and Qu Fumin (曲复敏), recognized in 2013, are talents renowned throughout Taiwan who stand at the top of the Beijing opera pantheon.
Dai Qixia, over 90 years old, grew up in a distinguished Pear Garden (梨园; Chinese opera profession) family. Both her grandmother and mother, Dai Fengming (戴凤鸣), were Beijing opera actors. Immersed in the theatrical environment from her earliest days, at 7 she began her formal apprenticeship, at 9 she performed on stage for the first time, and at 16 came her formal professional debut. Possessing a deep love for the Beijing genre, for a time she had her own troupe and gave performances all around Taiwan. At another time she was a member of the military theatrical troupes, and she also taught at the Fu Hsing Dramatic Arts Academy. In 1983 she established the Dai Qixia National Opera Tutoring School (戴绮霞国剧补习班). Having dedicated her entire life to the genre, she well deserves the popular name that has been bestowed on her, “Empress of Beijing opera”(京剧皇后).
Cao Fuyong and Qu Fumin are both from the prestigious first graduating class at Fu Hsing. Cao was born into a theatrical Hong Kong family. His mother, a Cantonese opera performer, wanted her child to follow the same path, and by chance Fu Hsing representatives came to Hong Kong seeking students for its first class. Cao, 10 years old at the time, was sent by his parents to study in Taiwan. He chose to study to be a male lead, and in order to cultivate a scholarly demeanor he diligently practiced calligraphy. His honing of skills paid off with his casting in xiaosheng (小生) or young male lead roles, earning him praise and the moniker “Eternal Beijing Opera Xiaosheng”(永远的京剧小生). Qu Fumin concentrated on studying for dan (旦) or female lead roles in her early years, defined by clear and mellow vocals, an attractive appearance, and a generous figure. In her middle years she primarily took on laodan (老旦) or mature female roles, dominating the Beijing opera stage and becoming Taiwan's leading laodan player. Both Cao and Qu now teach at the National Taiwan College of Performing Arts (国立台湾戏曲学院), taking on new roles in passing on of the Beijing opera inheritance.
How to Enjoy Beijing Opera
The key types of roles in Beijing opera are sheng, dan, jing (净), and chou (丑). Characters can be identified by their mask-like facial makeup. The sheng are, as already explained, lead male characters, and dan are lead female characters. For these roles, jun ban (俊扮) or light/pretty makeup is standard, with no intricate sketching or color patterns used. The jing are male characters commonly referred to as hua lian (花脸) or “painted faces,” reference to their intricate facial makeup. Jing are generally rough and heroic types of unyielding integrity or loyalty, often with reckless and sinister or brutal forcefulness and simplicity. They are generally of tall, large physical stature. Chou are easiest to identify, because of the conspicuous white square painted on the bridge of the nose. This, along with their other intricate facial makeup, has led to them being called xiao hua lian (小花脸) or “small painted faces.”
Beijing opera has a number of special features. First is stylization. Performers have specific gestures, gaits, movements, and positioning. Placing great emphasis on aesthetics, the stage actions have the lyrical beauty of dance. For example, performers in dan roles must have delicate“orchid fingers”(兰花指), walk with small, mincing steps, and when running must do so with dainty hurriedness. The demand for dance-like aesthetics extends even to falling, which is done by sliding (滑步) or by sitting down on the posterior (屁股坐子).
The second of Beijing opera's special features is exaggeration. For example, to express the joy of victory a xiaosheng, feeling proud of himself, will give an exaggerated laugh –“Ha ha, ha ha, ah ha ha ha ha!” A dan character, sunk in misery, will evince a “Wei ya!”(喂呀) cry when weeping. After a violent stage fight, the victor will flourish a sword or spear that has no direct relation to the plot.
Third is virtuality. Frequently, the only props on the Beijing opera stage are a table and two chairs. These can represent a royal harem, a green-forest mountain fastness, and many other things. Most scenes are simply set by the actor using mouth and eyes. For example, to indicate the opening of a door, the actor might simply say “Wait while I open the door,” and then open the imagined door with a simulated action. To simulate a long and arduous journey, an actor will walk briskly in a circle around the center of the stage. A group doing so during a time of war indicates a mighty force on the move.
Beijing opera performers must undergo long and rigorous training before they can take to the stage. Among the basic skills required are the “four skills and five methods”(四功五法). The four skills: singing, speaking, acting, and acrobatic fighting (唱念做打). Beijing opera, being theater, means of course that actors must be able to sing and to recite lines, and must be able to use face and limbs to express emotions. If a character has a martial arts role, skill in acrobatic combat is required. The five methods - hands, eyes, body, gait, and method (手眼身步法) - refer to hand gestures, the expressions in one's eyes, one's figure and posture, the way one walks and, finally, the integration of all the aforesaid techniques.
Watching Beijing Opera in Taipei
Two prime spots to take in performances of Beijing Opera are TaipeiEYE (台北戏棚) on Zhongshan N. Road (中山北路) and the Dadaocheng Theater (大稻埕戏苑) on Dihua Street (迪化街). At TaipeiEYE, Taipei Li-Yuan Peking Opera Theatre (台北新剧团) is presenting performances of the Legend of Eight Celestials Crossing the Sea (八仙过海) until August 3rd, each Monday, Wednesday, Friday, and Saturday. A different show is staged each month. TaipeiEYE offers simultaneous translations in Chinese, Japanese, English, and Korean at all shows, and performers come down from the stage to interact with the audience before shows and during intermissions.
On September 14th and 15th, the National Taiwan College of Performing Arts Jin-Ju Opera Troupe (国立台湾戏曲学院京剧团) will present Jin-Ju Amazement in Golden Autumn—Chun-Cao's Unanticipated Great Debate in Court (金秋京喜─春草闯堂) and Jin-Ju Amazement in Golden Autumn—The Legends of Twin Peak, the Tale of Li-Kuei and the Story of Exorcism (金秋京喜─双峰奇谭丁甲山、青石山) on the 9th - floor stage of the Dadaocheng Theater. Want a glimpse into the mysteries and marvels of Bejing opera? The very best is on show at these venues.
