中華文化精髓‧京劇
近日晚間在緯來電影台放映了由黎明、章子怡於2008年領銜主演的《梅蘭芳》，整部電影揉合了真實人物情境、抗戰時代背景及部分改編情節，以虛實交錯的敘述方式，記述一代京劇名人梅蘭芳的藝術及感情生平。
大體上,色彩的強調重點會放在額頭、臉頰兩個部位;角色屬性也多為驍勇善戰的蓋世英雄或是戰場上的軍人或是將士。
It emphasizes the forehead and cheeks. Used on heroes and warriors.
Also called broken face or old face, the strokes, patterns and colors used on these faces are more complicated. They express the character's innermost feelings.
3. Beancurd face (doufukuailian 豆腐塊臉)
會以白色方形的妝容作為主體,位置會集中在鼻子的周圍,此種妝容形式通常會應用於丑角身上為主。
A white square is drawn around the nose. It is the pattern used for a chou role.
色彩運用以白色為主題,繪製範圍遍及整個臉部,再進一步以黑色為眼部、眉毛或是鼻子及其他臉部肌肉作強化(highlight – shadow 對比強化),這類妝容常被應用在劇中一些個性較於狡猾的人物角色上。
White powder is applied all over the face.
A black pencil is used to highlight the eyes, brows, nose and muscles.
It is used on cunning characters.
今天想要藉機跟各位同學分享一下「京劇」及其他相關英文詞彙，「京劇」又被稱為「京戲」，在台灣又可以稱做平劇或是國劇，屬於中國戲曲的曲種之一。分布地以北京為中心，遍布全國。京劇是十九世紀中期，融合了徽劇和漢劇，並吸收了秦腔、崑曲、梆子、弋陽腔等藝術的優點，在北京形成的。京劇形成後在清朝宮廷內得到了空前的繁榮，其演唱腔調以西皮和二黃為主，主要用胡琴和鑼鼓等進行伴奏，被視為中國國粹。
Beijing Opera京劇
Chinese Opera 中國戲曲
京劇角色:
京劇當中的妝容和扮相是中國戲曲當中最著名的特色，又以下面這四個角色類型作為演繹主體。
Chinese facial make-up is a unique part of Chinese opera. Chinese opera is based on these four character types:
sheng(生)：男性角色，可扮為年輕男性、老人或是將士。
a male role, such as a young man, an elderly man, or a warrior.
dan (旦)：女性角色，可以拌為年輕小姐、美女、女將士或是老婦人。
a female role, such as a young lady, a beautiful lady, a lady warrior, or an elderly woman.
生和旦這兩種扮相的妝容通常都會針對眼睛跟眉毛兩個部分，在色彩上作進一步的加強，這種妝容的繪製模式又可以被稱為「素面」。
The make up for sheng and dan roles should highlight the eyes and eyebrows and the application of rouge(胭脂). This type of the make-up is known as the sumian 素面(plain face).
jing (净)：即是所謂的花臉扮相，角色性格偏向於志士俠義，如同忠臣挾忠，扶顛持危的行事風格。
also known as the painted face, used on a chivalrous and rugged male role.
chou (丑)：又被稱做「小花臉」，通常用於表現劇中相貌醜陋的人物，一般會在鼻子處勾畫一塊白。(丑主要分為「武丑」，「文丑」與「一般丑」三種。)
also known as the little painted face, used on villainous or comic characters.
“净”與”丑”兩種角色的扮相都是依循同一套標準的上妝模式，常會運用不同的色彩來凸顯角色本身的個人特色，有可能應用於將他們更加美化、昇華，但相對地，也可能是將角色本身惡劣的性格或是特徵更完全地表現出來，巧妙地妝容運用不但可以更輕易把觀眾拉入整部劇的情境當中，更可以讓演員深層地融入角色，以上便是較為廣為人知的角色分類。
jing and chou follow a standard way of make up. It uses different colors and strokes to exaggerate the actors' features, either to beautify them or to make them ugly. They are used to show the personality of the character and to add a touch of drama to the role. This is the Chinese facial make up that we are familiar with.
京劇當中的妝容和扮相是中國戲曲當中最著名的特色，又以下面這四個角色類型作為演繹主體。
Chinese facial make-up is a unique part of Chinese opera. Chinese opera is based on these four character types:
sheng(生)：男性角色，可扮為年輕男性、老人或是將士。
a male role, such as a young man, an elderly man, or a warrior.
dan (旦)：女性角色，可以拌為年輕小姐、美女、女將士或是老婦人。
a female role, such as a young lady, a beautiful lady, a lady warrior, or an elderly woman.
生和旦這兩種扮相的妝容通常都會針對眼睛跟眉毛兩個部分，在色彩上作進一步的加強，這種妝容的繪製模式又可以被稱為「素面」。
The make up for sheng and dan roles should highlight the eyes and eyebrows and the application of rouge(胭脂). This type of the make-up is known as the sumian 素面(plain face).
jing (净)：即是所謂的花臉扮相，角色性格偏向於志士俠義，如同忠臣挾忠，扶顛持危的行事風格。
also known as the painted face, used on a chivalrous and rugged male role.
chou (丑)：又被稱做「小花臉」，通常用於表現劇中相貌醜陋的人物，一般會在鼻子處勾畫一塊白。(丑主要分為「武丑」，「文丑」與「一般丑」三種。)
also known as the little painted face, used on villainous or comic characters.
“净”與”丑”兩種角色的扮相都是依循同一套標準的上妝模式，常會運用不同的色彩來凸顯角色本身的個人特色，有可能應用於將他們更加美化、昇華，但相對地，也可能是將角色本身惡劣的性格或是特徵更完全地表現出來，巧妙地妝容運用不但可以更輕易把觀眾拉入整部劇的情境當中，更可以讓演員深層地融入角色，以上便是較為廣為人知的角色分類。
jing and chou follow a standard way of make up. It uses different colors and strokes to exaggerate the actors' features, either to beautify them or to make them ugly. They are used to show the personality of the character and to add a touch of drama to the role. This is the Chinese facial make up that we are familiar with.
臉譜(various kinds of facial designs):
1. Three-part make-up (sankuaiwa 三块瓦)
1. Three-part make-up (sankuaiwa 三块瓦)
大體上,色彩的強調重點會放在額頭、臉頰兩個部位;角色屬性也多為驍勇善戰的蓋世英雄或是戰場上的軍人或是將士。
It emphasizes the forehead and cheeks. Used on heroes and warriors.
2. Worn-out face (polian 破臉)
又常被稱為「破臉」或是「老臉」,在繪製上的筆觸、形式跟色彩會更加複雜,但其實圖樣本身所表達的即是角色本身的內心感受。
Also called broken face or old face, the strokes, patterns and colors used on these faces are more complicated. They express the character's innermost feelings.
3. Beancurd face (doufukuailian 豆腐塊臉)
會以白色方形的妝容作為主體,位置會集中在鼻子的周圍,此種妝容形式通常會應用於丑角身上為主。
A white square is drawn around the nose. It is the pattern used for a chou role.
4. White face (fenbailian 粉白臉)
White powder is applied all over the face.
A black pencil is used to highlight the eyes, brows, nose and muscles.
It is used on cunning characters.
臉譜的顏色運用
臉譜的繪製常會依循一套形式,登台演出時是不能夠隨意更改臉譜的色彩或是樣式的,尤其是當你有特定的角色性格要去詮釋時,在色彩的運用上可以被區分為主體、次要、周邊及互補,無論整體的配色可以有多複雜,永遠只會以一種色彩作為主軸,那份色彩不但鮮明,更要能襯托出角色的氣質和風格。
臉譜的繪製常會依循一套形式,登台演出時是不能夠隨意更改臉譜的色彩或是樣式的,尤其是當你有特定的角色性格要去詮釋時,在色彩的運用上可以被區分為主體、次要、周邊及互補,無論整體的配色可以有多複雜,永遠只會以一種色彩作為主軸,那份色彩不但鮮明,更要能襯托出角色的氣質和風格。
The facial make-up follows a standard format. You
are not allowed to change the style or look of a character. The colors are
classified as primary, secondary, peripheral and complementary. No matter how
complicated the make-up may be, there is always one main color used to
highlight the role's character.
面部色彩運用的不同意義
The meaning behind the colors used in facial make-up:
面部色彩運用的不同意義
The meaning behind the colors used in facial make-up:
紅色: 忠誠和勇氣
黃色: 殘忍和野蠻
金黃: 神明和魔鬼
白色: 邪惡
藍色: 粗心和浮躁
黑色: 忠肝義膽、正氣凜然
綠色: 俠義
Red--loyalty and courage
Yellow--cruelty and savagery
Golden yellow--gods and demons
White--evil
Blue--carelessness and impetuousness
Black--righteousness
Green—chivalry
黃色: 殘忍和野蠻
金黃: 神明和魔鬼
白色: 邪惡
藍色: 粗心和浮躁
黑色: 忠肝義膽、正氣凜然
綠色: 俠義
Red--loyalty and courage
Yellow--cruelty and savagery
Golden yellow--gods and demons
White--evil
Blue--carelessness and impetuousness
Black--righteousness
Green—chivalry
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