1st Edition

Beijing Opera Costumes The Visual Communication of Character and Culture

By Alexandra B Bonds Copyright 2019
    432 Pages
    by Routledge

    432 Pages
    by Routledge

    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.

    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

    Biography

    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

    "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 Mānoa

     

    "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