Beijing Opera Costumes
Routledge (Verlag)
978-1-138-50477-6 (ISBN)
Beijing Opera Costumes: The Visual Communication of Character and Culture illuminates the links between theatrical attire and social customs and aesthetics of China, covering both the theory and practice of stage dress. Distinguishing attributes include an introduction to the performance style, the delineation of the costume conventions, an analysis of the costumes through their historical precedents and theatrical modifications, and the use of garment shape, color, and embroidery for symbolic effect. Practical information covers dressing the performers and a costume plot, the design and creation of the make-up and hairstyles, and pattern drafts of the major garments. Photographs from live performances, as well as details of embroidery, and close-up photographs of the headdresses thoroughly portray the stunning beauty of this incomparable performance style. Presenting the brilliant colors of the elaborately embroidered silk costumes together with the intricate makeup and glittering headdresses, this volume embodies the elegance of the Beijing opera.
Alexandra B. Bonds is Professor Emerita of Costume Design at the University of Oregon. Her passion for Beijing Opera costumes began when she received a Fulbright to teach at the National Institute for the Arts in Taiwan in 1990. As an award-winning designer of costumes, she became the first foreigner to study costumes at the Academy for Traditional Chinese Opera in Beijing, China. Her research in this area has been recognized for excellence in writing for the performing arts by the United States Institute for Theatre Technology
Acknowledgements
Foreword
Preface
Abbreviations
Dynasties
List of Figures
List of Tables
List of Pattern Drafts
Introduction
Chapter 1: The World of Traditional Jingju
Role Types
Plays
Visual Components
Costumes
Aesthetic Principles
Beauty
Chapter 2: The World of Traditional Jingju Costumes
Costumes and Roles
Identity through Costumes
Absence of Time Period
Absence of Season
Absence of Region
Dramatic Circumstances
Selection Process
Costumes and Movement
Costume Sources
Chapter 3: The Form and Historical Roots of Costumes
Historical Background
Cloth-Based Sources of Clothing
Han Garments and Traditional Jingju Costumes
Hide-Based Sources of Clothing
Manchu Garments and Traditional Jingju Costumes
Theatrically Based Clothing
Form and Conventions of Usage
Patterning and Cut of Costumes
Construction
Fabrics
Chapter 4: The Symbolism and Application of Color
History of Color Symbolism
Upper and Lower Colors
Meanings of the Upper Five Colors
Meanings of the Lower Five Colors
Color Combinations by Role Type
Aesthetics of Color Composition
Fabric and Embroidery Floss Colors
Lining Colors
Chapter 5: The Aesthetics and Meanings of the Embroidered Imagery
Embroidery in Chinese History
Embroidery Techniques
Composition
Imagery
Chapter 6: The Costume Compendium
The Major Costumes
Mang (Court robe)
Nümang (Female court robe)
Qimang (Manchu court robe)
Gailiang mang (Reformed court robe)
Pi (Formal robe)
Nüpi (Female formal robe)
Kao (Armor)
Nükao (Female armor)
Gailiang kao (Reformed armor) and Gailiang nükao (Female reformed armor)
Xuezi (Informal robe)
Nüxuezi (Female informal robe)
Fugui yi (Garment of wealth and nobility)
The Long Costumes
Kai chang (Open robe)
Guanyi (Official robe)
Gailiang guanyi (Reformed official robe)
Eunuch Robe (Taijian yi)
Xueshi yi (Scholar’s robe)
Jianyi (Archer’s robe)
Longtao yi (Attendant robe)
Dakai (Big armor)
Gongzhuang (Palace garment)
The Short Costumes
Magua (Riding jacket)
Baoyi (Lit. "leopard" or "embracing" clothes)
Kuaiyi (Lit. "fast" clothes) and Bingyi (Soldier’s clothes)
Chayi (Lit. "tea" clothes)
Big-sleeved Robe (Daxiu)
Prisoner’s Clothes (Zuiyi)
Executioner’s Clothes (Guizishou yi)
Jacket and Skirt (Aoqun) and Jacket and Trousers (Aoku)
Zhan’ao zhanqun (War jacket, skirt, and trousers)
Caipo ao (Colorful jacket for old women)
Duantiao (Lit. "short and convenient for playing" robe) and An’anyi (Children’s clothing)
The Specific Costumes
Religious Costumes
Bagua yi (Eight trigrams robe)
Fayi (Priest’s chasuble)
Sengyi (Buddhist robe)
Xiao sengyi (Young monk’s robe)
Head Monk Cloak (Jiasha)
Seng kanjian or wuseng yi (Military monk vest)
Sanse dao beixin (Three-color Daoist vest)
Daoist Nun Vest (Daogu kanjian)
Mythological Creatures and Beings
Ethnic Clothing
Qipao (Manchu gown)
Bufu (Coat with a badge)
Special Characters
Lady Yu
Guan Yu
Zhong Kui
Monkey Costumes
Zhiduyi (Combat clothes for the Monkey King)
Monkey Clothes (Houyi)
Houjia (Monkey armor)
Little Monkey Clothes (Xiao houyi)
Mei Lanfang Designs
Guzhuang ("Ancient-style" dress)
Cloud-terrace Costume (Yuntai zhuang)
Accessory Pieces
Trousers (Kuzi) and Colored Trousers (Caiku)
Skirts (Qunzi)
Vests (Kanjian): Male
Vests: Female
Large Apron (Da fandan) and Small Apron (Xiao fandan)
Capes (Doupeng)
Belts
Footwear
Inner Garments
Water Sleeves (Shuixiu)
Chapter 7: Makeup, Hair, and Headdresses
Women’s Makeup
Men’s Makeup
Lianpu (Lit. "face chart")Makeup
Hairdressing and Accessories
Men’s Hair
Beards
Headdresses
Ceremonial Headdresses
Helmets
Hats
Soft Caps
Supplementary Styles
Chapter 8: Dressing Techniques and Costume Plots
Training
Patterns of Selection
Layering Patterns
Deviations from Dressing Patterns
Costume Plots
A Costume Plot and Two Performances
Dressing Techniques
Trunks and Storage
Appendix I: Costume Pattern Drafts
Appendix II: Dictionary of Jingju Characters
Glossary
List of Performances
Index
| Erscheinungsdatum | 22.11.2018 |
|---|---|
| Zusatzinfo | 6 Tables, black and white; 23 Line drawings, black and white; 359 Halftones, black and white |
| Verlagsort | London |
| Sprache | englisch |
| Maße | 210 x 280 mm |
| Gewicht | 1392 g |
| Themenwelt | Kunst / Musik / Theater ► Theater / Ballett |
| ISBN-10 | 1-138-50477-7 / 1138504777 |
| ISBN-13 | 978-1-138-50477-6 / 9781138504776 |
| Zustand | Neuware |
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