京剧中英文介绍

参考资料：百度

京剧在塑造人物方面有其独特的造型语言。它把不同性别、性格、年龄、身份的人物划分为不同的行当，一般说来有"生、旦、净、丑"四大行当。由于京剧人物造型形象鲜明、风格多样，有强烈的剧场效果，常常更易于激起观众的欣赏兴趣。

生行

京剧中的

"生"，一般指剧中扮演男子的演员，其中又可细分为"老生"、"小生"和"武生"。"老生"，顾名思义就是中老年男子角色，在剧中多扮演正直刚毅的人物形象，例如京剧《伍子胥》中的伍子胥.他们演出时要戴挂在耳朵上的假胡须，在京剧的行话中也叫"髯口"，因此还专门有一套髯口上的表演功夫。胡须的颜色表示了人物的年龄。京剧《四郎探母》中的杨四郎年约三十岁，所戴胡须为黑色。京剧《秦香莲》中王延龄年约六十，所戴胡须为白色。老生在剧中一般注重演唱和细腻表演，唱腔上也最为丰富。台词用京剧中的韵白来表现，演唱用真声，风格刚劲、挺拔、质朴、醇厚，动作造型也以雍容、端方、庄重为基调。与老生相对应的是

"小生"，在京剧中指青少

年男子角色，他们在剧中的动作造型儒雅倜傥、秀逸飞动。在演唱上采用真假声结合的唱法，演唱风格华美和明亮。例如京剧《白蛇传》中的许仙.

"武生"是指扮演剧中年轻的男性武将，他们用高超的武打技术来展示剧中人物的武艺高强。不重演唱，注重武打动作的娴熟和技巧的难度。例如京剧《长坂坡》中的赵云.

Role of Sheng

The roles on the Chinese opera stage fall into

four categories -- Sheng, Dan, Jing and Chou.

These roles have the natural features of age and

sex, as well as social status, and are

artificially exaggerated by makeup, costume and

gestures.

Sheng, a male role, usually a leading one, dates

back to Southern Drama of the Song and Yuan

Dynasties (960-1368). This role appears in

operas in all historical periods. According to

the age and social status of the characters,

Sheng falls into five sub-groups: Laosheng,

Xiaosheng, Wusheng, Hongsheng and Wawasheng

(characters of children).

Laosheng is also known as Xusheng, meaning

bearded men, because the actors wear artificial

beards, and they are middle-aged or elderly men.

Most are upright and resolute characters. They

sing in their natural voices, and their actions

are serious ones.

Xiaosheng is a sub-category of Sheng

representing young male characters. They don't

wear artificial beards. They always sing in

their real voices, while in Kunqu and Pihuang

operas the singing mixes natural and falsetto

voices.

Wusheng stands for all of the male characters

who appear in battle scenes. They are further

subdivided into Changkao Wuheng, Duanda Wusheng,

Goulian Wusheng and Houxi Wusheng. They always

wear helmets and thick-soled boots. The generals

always carry long pikes. Wusheng roles call for

sturdy and vigorous actions, with resounding

declamations. The movements of the waist and

legs are powerful, and a high level of martial

arts skills is demanded in these roles. Duanda

Wusheng roles use short-handled weapons, and

their movements are light and swift.

旦行

京剧中把女性统称为"旦"，其中按照人物的年龄、性格又可细分为许多行当，饰演大家闺秀和有身份的妇女称为"正旦"，正旦在京剧中俗称"青衣"，这就是因为正旦所扮演的角色常穿青色的长衫而得名。京剧《窦娥冤》中的女主角窦娥就是典型的青衣角色。青衣的表演庄重娴静，秀雅柔婉，以唱功为主，一般说来，青衣的唱腔旋律优美，细腻婉转。旦行中的"花旦"，多扮演天真活泼或放荡泼辣的青衣妇女，在表演上注重做工和念白，例如《红娘》中的红娘.

"武旦"和"刀马旦"相当于生行中的武生，扮演的是擅长武艺的青壮年妇女，装扮和武生差不多，也扎靠服，她们多在剧中扮演

女侠、女将甚至女仙、女妖等。武旦和刀马旦的表演往往还伴随着热闹的锣鼓点，烘托场上的气氛。

"老旦"，指在剧中扮演老年妇女的角色行当。为突出老年人的特点，走路迈一种沉稳的横八字步，服装色调为色彩偏暗的秋香色、墨绿色，演唱用真声表现。

Role of Dan in Peking Opera

The roles on the Chinese opera stage fall into

four categories: Sheng, Dan, Jing and Chou.

These roles have the natural features of age and

sex, as well as social status, and are

artificially exaggerated by makeup, costume and

gestures.

Dan is the general term in Peking Opera for

female roles. As early as in the Song Dynasty