Zheng Dan: Commonly known as "Tsing Yi", it is named because its characters often wear blue pleats. It mainly plays solemn young and middle-aged women, and its performance features singing and small gestures. The action is more stable. Reading rhyme is white, singing is important. For example, Wang Baochuan is high-fiving, and Li Yanfei is in the second house.
The female class in Luo Fu in Sang Huiyuan. Hua Dan: Mostly young women. Wear short clothes, such as jackets, trousers, skirts and coats; Sometimes I wear long clothes and embroider colorful patterns. Most of the characters are lively, cheerful and agile. The performance is mainly about doing work and speaking the vernacular, which is mainly about speaking Beijing white.
Less rhyme and white. For example, Jin Yunv in Beating a fickle Lover and Yan Xijiao in Wulongyuan. Beijing Opera Blues: Play more young and middle-aged women who are good at martial arts. Martial arts is not as fierce as that in Wu Dan, and there is no need for "thugs" (that is, throwing, kicking, catching and weapons stunts), and more emphasis is placed on singing, doing and jumping.
For example, Liang Hongyu in the Battle of Jinshan and Mu in Mukezhai. Wu Dan: Play a brave woman with good martial arts. The performance is mainly martial arts, especially the use of special effects to "fight". There are two main differences between Wu Dan and Beijing Opera blues. One is that Wu Dan stepped on stilts, but Beijing Opera blues didn't.
Second, Wu Dan has the ability to "fight", but the Beijing opera blues does not have this ability. Wu Dan wears a short coat, concentrates on martial arts, and does not repeat it. For example, Yang Paifeng in Jiao Zan and Sun Erniang in Song Wupu. Flower Shirt: It is a comprehensive artistic feature of the blues of Tsing Yi, Hua Dan and Peking Opera since the1920s.
A new type of danger angle has been developed. It is impossible for an actor to play Tsing Yi and Hua Dan at the same time before the flower shirt is formed. In order to enrich Dandan's performance art and artistic expression ability, Wang Yaoqing combined the quiet and dignified of Tsing Yi, the lively and dexterous of Hua Dan and the martial arts martial arts power of Beijing Opera Blues.
Create a Dandan career that pays equal attention to singing, reading, doing and playing. People call it a floral shirt (a combination of Hua Dan and blue shirt). Lao Dan: A company specializing in the role of elderly women. Dress, figure and catwalk are different from those in Tsing Yi, mainly highlighting the characteristics of the elderly. Sing with local noise, close to the old students.
But it has the sleek charm of women. For example, She Taijun in The Woman General, the mother-in-law in The Tattoo of Her Mother-in-law, and Kang in Crouching Scarab. Cai Dan: Usually called the ugly girl, she sings with her own voice, but in fact she uses a clown to answer this question. To put it simply, Cai Dan emphasized white, and basically said Beijing was white.
Mainly work, performance and makeup are exaggerated, is a funny character, performing funny humor. These characters are not all bad people, but some of them are used to satirize stupid and smart people, such as Cheng Xueyan, the eldest sister, and Dong Shi. Others say they are cheerful.
Rough and unrestrained women, such as Hua Po in Dragon Ball String, Shiwan in Four Gentlemen, and Chen Xiuying's mother in Iron Bow. , and so on have created humorous artistic images, such as Liu's "The Matchmaker Picks the Jade Bracelet". A new play by four famous Peking Opera artists.
Most of them belong to the category of flowered shirts, and each new drama strives to meet the audience's viewing requirements in singing, reading, doing and playing, such as Yu Ji in Farewell My Concubine, Wang Zhaojun in Princess Hamming, Xue Xiangling in Lock the Forest Capsule and You Sanjie in A Dream of Red Mansions. There is also a flag skirt in the flower shirt play.
Wear the clothes of the Qing flag bearer, comb the flag head, and wear flowerpot shoes under your feet, saying that Beijing is white. The roles performed by Qi Zhuangdan are not limited to women in the Qing Dynasty, but have existed in all previous dynasties, including Hu Ayun in Su Wu Shepherd (Han Dynasty) and Princess in the Iron Mirror in Shiro Visiting Mother (Song Dynasty).