花脸的英文

京剧英语词汇

京剧作为我们国家的国粹，掌握一些京剧英语词汇，可以向国外友人介绍我们的文化哦，以下是我跟大家分享京剧英语词汇，希望对大家能有所帮助！

京剧（Peking Opera）是中国五大戏曲剧种之一，另外四种分别为越剧（Yue Opera）、黄梅戏（Huangmei Opera）、评剧（Ping Opera）和豫剧（Henan Opera）。

京剧的前身的徽剧（Anhui Opera）。清代乾隆五十五年（1790年）起，原在南方演出的三庆、四喜、春台、和春， 四大徽班陆续进入北京，他们与来自湖北的汉调艺人合作，同时又接受了昆曲、秦腔的部分剧目、曲调和表演方法，吸收了一些地方民间曲调，通过不断的交流、融合，最终形成京剧。

2010年11月16日，京剧被列入 “人类非物质文化遗产代表作名录”（list of intangible world heritages） 。

【京剧行当】 Types of Roles

京剧舞台上的一切都不是按照生活里的原貌出现的。京剧舞台上的角色也不是按照生活当中人的本来面貌出现的，而是根据所扮演角色的性别、性格、年龄、职业以及社会地位等，在化妆、服装各方面加以若干艺术的夸张，这样就把舞台上的角色划分成为生、旦、净、丑四种类型。这四种类型在京剧里的专门名词叫做“行当”。

生（sheng, male role）

除了花脸以及丑角以外的男性正面角色（male protagonist）的统称，分老生（elderly）、武生（military）、小生（young） 、红生（red-faced） 、娃娃生（young boy）。

旦（dan, female role）

女性正面角色（ female protagonist）的统称，分青衣（main female role）、花旦（vivacious and unmarried women）、闺门旦（unmarried young girl）、刀马旦（young female warrior）、武旦（martial women）、彩旦（elderly women clown）。

净（jing, painted face）

俗称花脸，大多是扮演性格、品质或相貌上有些特异的男性人物，化妆用脸谱，音色洪亮，风格粗犷。“净”又分为正净（zhengjing,唱工花脸，又叫铜锤或黑头）和副净（fujing, 以动作造型表演为主），副净又包括架子花（jiazihualian, 以工架、念白、表演为主）和二花脸（erhualian, 武打动作多，唱词较少）。

丑（chou, clown）

扮演喜剧角色，因在鼻梁上抹一小块白面粉，俗称小花脸。分文丑（wenchou, civilian）、武丑（wuchou, martial）等。

【唱腔分类】 Vocal Music

西皮（xipi）

唱腔明快高亢，刚劲挺拔，适于表达欢乐、激越、奔放的感情。明清之际，秦腔由西东传，结合湖北民间曲调演变而成西皮。 湖北 方言称唱为“皮”，西皮即由西传东的唱腔。

二黄（erhuang）

京剧二黄包括包括导板（倒板）、慢板（慢三眼）、原板、垛板、散板、摇板、回龙等板式。同西皮相比，二黄一般较为沉着稳重、凝练严肃。

【京剧脸谱】 Facial Makeup

红脸（red face） 含有褒义，代表忠勇

黑脸（black face） 为中性，代表猛智

蓝脸（blue face）和绿脸（green face） 也为中性，代表草莽英雄

黄脸（yellow face）和白脸（white face） 含贬义，代表凶诈凶恶

金脸（golden face）和银脸（silver face） 是神秘，代表神妖

【伴奏乐器】 Musical Instruments and Orchestras

京剧伴奏乐器分打击乐器（percussion instruments）与管弦乐器（wind instruments and stringed instruments）。

打击乐器（percussion instruments） 有板（bamboo clappers）、鼓（drum）、大锣（gong）、钹（cymbals）等，称为“武场”（wuchang, acrobatic fighting）。

管乐器（wind instruments） 有笛（bamboo flute）、笙（reed pipe）、唢呐（suona horn）等， 弦乐器（stringed instruments） 有京胡（Peking opera fiddle）、京二胡（two-stringed fiddle）、月琴（four-stringed moon-shaped Chinese mandolin）、三弦（three-stringed plucked instrument），统称为“文场”（wenchang, civilian stage）。

【京剧流派】 Schools of Peking Opera

京剧的流派习惯上以创始人的姓来命名，而各个行当又有各自领域的.代表人物。

梅派（Mei School）

梅派由梅兰芳先生创立，是京剧旦行中首先形成的一个派别，主要是综合了青衣、花旦和刀马旦的表演方式，在唱、念、做、舞、音乐、服装、扮相等各个方面，进行不断的创新和发展，将京剧旦行的唱腔、表演艺术提高到了一个全新的水平，达到了完美的境界。

程派（Cheng School）

程派由京剧四大名旦之一程砚秋创立。主要以深邃曲折的唱腔，，通过娴静凝重的舞台形象表现古代的女性，尤其善于塑造遭遇悲惨、具有外柔内刚性格的中下层的女性。

荀派（Xun School）

由荀慧生创立。善于塑造天真、活泼、热情的少女形象，具有柔媚娇婉的风格。

尚派（Shang School）

由尚小云创立。以刚健婀娜为特有风格，唱、念、做、打均不尚纤巧，以气与力取胜，具有阳刚之美。

谭派（Tan School）

京剧老生行当中的主流派别，也是中国最早创立的京剧流派，由著名老生谭鑫培创立。谭派唱腔以委婉古朴而著称。

严格说来, 「生、旦、净、末、丑」是元杂剧之后才细分的, 「生」由「末」分出来, 而「丑」由「净」独立出来. 通常这种领域的名词, 是音译与义译共存; 因为这些名称并不只是属於中华文化圈或是台湾语言中的名称, 它们的「发音」也蕴含意义我们一般在写文章的时候是这样写的:a male lead (生/shen, 末/mo) : a male lead 就是男性的主角. 其实我们印象里的「小生」是坤生(女扮男装). 如果你所说的生, 末指的是种类, 那可以说 a male role (男角)即可a female lead (旦/dan) : a female lead 就是女性的主角, 至於花旦, 老旦, 武旦, 苦旦, 就各自加上英文形容词就可以; 说明「旦」是一女性类种时, 也可以说 a female role.廖琼枝老师就是有名的苦旦, 你可以说 Master Liao is the foremost "Ku Dan"(the sorrowful/the tragic female lead) in the world of Taiwanese opera. (廖大师是歌仔戏苦旦祭酒)a supporting male lead (净/jing) : 「净」在京戏这类戏曲中是花脸(the painted face)the jester (丑/chou) :这个丑分为男丑与女丑, 男丑(a male jester)称为三花(san hua), 女丑(a female jester)叫做彩旦, 化妆比较夸张, 衣服也比较俗气野台戏的用语比较大方, 女丑叫做「三八」( san ba dan) 请注意, jester 与 clown 都是丑角, 但是jester比较偏向於插科打诨这种. 一般多用 jester, 但也有 clown 适用的时候, 比如这个角色若常常做傻动作而不是讲傻话的话.

ShengThe Sheng (生) is the main male role in Beijing opera. This role has numerous subtypes. The laosheng is a dignified older role. These characters have a gentle and cultivated disposition and wear sensible costumes. One type of laosheng role is the hongsheng, a red-faced older male. The only two hongsheng roles are Guan Gong, the Chinese God of War, and Zhao Kuang-yin, the first Song Dynasty emperor. Young male characters are known as xiaosheng. These characters sing in a high, shrill voice with occasional breaks to represent the voice changing period of adolescence. Depending on the character's rank in society, the costume of the xiaosheng may be either elaborate or simple. Off-stage, xiaosheng actors are often involved with beautiful women by virtue of the handsome and young image they project.The wusheng is a martial character for roles involving combat. They are highly trained in acrobatics, and have a natural voice when singing.Troupes will always have a laosheng actor. A xiaosheng actor may also be added to play roles fitting to his age. In addition to these main Sheng, the troupe will also have a secondary laosheng.DanThe Dan (旦) refers to any female role in Beijing opera. Dan roles were originally divided into five subtypes. Old women were played by laodan, martial women were wudan, young female warriors were daomadan, virtuous and elite women were qingyi, and vivacious and unmarried women were huadan. One of Mei Lanfang's most important contributions to Beijing opera was in pioneering a sixth type of role, the huashan. This role type combines the status of the qingyi with the sensuality of the huadan.A troupe will have a young Dan to play main roles, as well as an older Dan for secondary parts.Four examples of famous Dans are Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun, and Xun Huisheng.[52] In the early years of Beijing opera, all Dan roles were played by men. Wei Changsheng, a male Dan performer in the Qing court, developed the cai ciao, or "false foot" technique, to simulate the bound feet of women and the characteristic gait that resulted from the practice. The ban on female performers also led to a controversial form of brothel, known as the xianggong tangzi, in which men paid to have sex with young boys dressed as females. Ironically, the performing skills taught to the youths employed in these brothels led many of them to become professional Dan later in life.JingThe Jing (净) is a painted face male role. Depending on the repertoire of the particular troupe, he will play either primary or secondary roles.This type of role will entail a forceful character, so a Jing must have a strong voice and be able to exaggerate gestures.[55] Beijing opera boasts 15 basic facial patterns, but there are over 1000 specific variations. Each design is unique to a specific character. The patterns and coloring are thought to be derived from traditional Chinese color symbolism and divination on the lines of a person's face, which is said to reveal personality. Easily recognizable examples of coloring include red, which denotes uprightness and loyalty, white, which represents evil or crafty characters, and black, which is given to characters of soundness and integrity.Three main types of Jing roles are often seen. These include tongchui, roles that heavily involve singing, jiazi, roles with less emphasis on singing and more on physical performance, and wujing, martial and acrobatic roles.ChouThe Chou (丑) is a male clown role. The Chou usually plays secondary roles in a troupe.[57] Indeed, most studies of Beijing opera classify the Chou as a minor role. The name of the role is a homophone of the Mandarin Chinese word chou, meaning "ugly". This reflects the traditional belief that the clown's combination of ugliness and laughter could drive away evil spirits. Chou roles can be divided into Wen Chou, civilian roles such as merchants and jailers, and Wu Chou, minor military roles. The Wu Chou is one of the most demanding in Beijing opera, because of its combination of comic acting, acrobatics, and a strong voice. Chou characters are generally amusing and likable, if a bit foolish. Their costumes range from simple for characters of lower status to elaborate, perhaps overly so, for high status characters. Chou characters wear special face paint, called xiaohualian, that differs from that of Jing characters. The defining characteristic of this type of face paint is a small patch of white chalk around the nose. This can represent either a mean and secretive nature or a quick wit.Beneath the whimsical persona of the Chou, a serious connection to the form of Beijing opera exists. The Chou is the character most connected to the guban, the drums and clapper commonly used for musically accompaniment during performances. The Chou actor often uses the guban in solo performance, especially when performing Shu Ban, light-hearted verses spoken for comedic effect. The clown is also connected to the small gong and cymbals, percussion instruments that symbolize the lower classes and the raucous atmosphere inspired by the role. Although Chou characters do not sing frequently, their arias feature large amounts of improvisation. This is considered a license of the role, and the orchestra will accompany the Chou actor even as he bursts into an unscripted folk song. However, due to the standardization of Beijing opera and political pressure from government authorities, Chou improvisation has lessened in recent years. The Chou has a vocal timbre that is distinct from other characters, as the character will often speak in the common Beijing dialect, as opposed to the more formal dialects of other characters.