Beijing Opera Costumes
The Visual Communication of Character and Culture
1st Edition
Published on 23. January 2019
Book
Paperback/Softback
432 pages
978-1-138-50477-6 (ISBN)
Description
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.
Reviews / Votes
"This book is a very detailed and thorough examination of costuming (including makeup) in traditional Beijing opera as practices today. This book with its ample illustrations and clear structure, is an excellent guide to the symbolic system used to differentiate the characters on the Beijing opera stage and it could also be said to represent a guide to the visual world of Beijing opera in general. It is the only book of its kind in English and it is very hard to conceive of it being surpassed any time soon."Professor David Rolston
University of Michigan
"Alexandra Bonds' remarkable book is possibly the most extensive study of Jingju costume in any language, and by far the most complete coverage of the subject in English. It explores an impressive range of subjects in relationship to costuming, from role types, color and design symbolism, and makeup and beards, to the training of dressers."
Professor Elizabeth Wichmann-Walczak
University of Hawai'i at Manoa
"Beijing Opera Costumes is by far the best resource I have encountered in my time as a theatre student. Professor Bonds has created one of the most insightful and thorough compellations of information on Jingju costumes, and the accessibility of her writing for readers and learners at any level is what makes the text a stand-out contribution to the field."
Grace Heller
Theatre Student
Western Washington University
More details
Language
English
Place of publication
London
United Kingdom
Publishing group
Taylor & Francis Ltd
Target group
Professional and scholarly
Academic and Professional Practice & Development
Product notice
Paperback (trade)
Unsewn / adhesive bound
Illustrations
359 s/w Photographien bzw. Rasterbilder, 23 s/w Zeichnungen, 6 s/w Tabellen
6 Tables, black and white; 23 Line drawings, black and white; 359 Halftones, black and white
Dimensions
Height: 277 mm
Width: 213 mm
Thickness: 25 mm
Weight
1256 gr
ISBN-13
978-1-138-50477-6 (9781138504776)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
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01/2019
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01/2019
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Routledge
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E-Book
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1st Edition
Routledge
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Person
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
Content
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)
Nuemang (Female court robe)
Qimang (Manchu court robe)
Gailiang mang (Reformed court robe)
Pi (Formal robe)
Nuepi (Female formal robe)
Kao (Armor)
Nuekao (Female armor)
Gailiang kao (Reformed armor) and Gailiang nuekao (Female reformed armor)
Xuezi (Informal robe)
Nuexuezi (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
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)
Nuemang (Female court robe)
Qimang (Manchu court robe)
Gailiang mang (Reformed court robe)
Pi (Formal robe)
Nuepi (Female formal robe)
Kao (Armor)
Nuekao (Female armor)
Gailiang kao (Reformed armor) and Gailiang nuekao (Female reformed armor)
Xuezi (Informal robe)
Nuexuezi (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