中国传统戏曲艺术——京剧
京剧，又称平剧、京戏，融唱、念、做、打四种艺术手法于一身，集文学、表演、音乐、舞台美术等多种艺术形式于一体，是我国传统戏剧的瑰宝。清代乾隆五十五年起，经徽秦的合流、四大徽班进京、以及徽剧和汉剧的合流，使得京剧经徽戏、秦腔、汉调的融合，并借鉴吸收昆曲、秦腔之长而形成了京剧。如今，京剧作为中国影响最大的戏曲剧种，其表演之细腻、角色之丰富、唱腔之深情、发展之蓬勃，成为在世界舞台上一枝独秀的中国艺术，为中国戏曲艺术的发展书写新篇章，为人类文化传承作出了宝贵的贡献。
The Peking Opera, also called Ping Ju, Jing Xi, is the treasure of our traditional Chinese opera, which combines singing, reading, doing and playing, incorporating various art forms such as literature, performance, music, and stage art. Since the 55th year of the Qianlong reign in the Qing Dynasty, Peking Opera has evolved through the integration of Hui Ju, Qin Opera, Han tunes, and the integration of Hui Ju and Han Opera. It has also drawn advantages from Kun qu Opera and Qin Opera, resulting in the unique art form of Peking Opera. Today, Peking Opera is the most influential form of Chinese traditional theater, known for its delicate performances, rich characters, profound singing styles, and vibrant development. It stands out as a shining example of Chinese art on the world stage, significantly contributing to the development of Chinese theatrical arts and making valuable contributions to the cultural heritage of humanity.
京剧表演细腻生动，严谨有讲究。在京剧中，演员表演虚实结合，最大限度地超脱了舞台空间和时间的限制，以达到“以形传神，形神兼备”的艺术境界。唱、念、做、打作为京剧四种基本的艺术手法，要求演员从小就要从这四个方面进行训练，每一位京剧演员都必须有过硬的四种基本功。唱指歌唱，念指具有音乐性的念白，二者相辅相成，构成歌舞化的京剧表演艺术两大要素之一的“歌”；做指舞蹈化的形体动作，打指武打和翻跌的技艺，二者相互结合，构成歌舞化的京剧表演艺术两大要素之一的“舞”。只有这样才能充分地发挥京剧的艺术特色。更好地表现和刻画戏中的各种人物形象。
Peking Opera performances are delicate and vivid, characterized by precision and attention to detail. In Peking Opera, actors combine reality and illusion, transcending the limitations of stage space and time to achieve an artistic realm of "conveying spirit through form." （以形传神，形神兼备）Singing, reading, acting, and martial arts are the four fundamental artistic techniques of Peking Opera, and actors are trained in these aspects from an early age. Every Peking Opera performer must possess solid skills in these four areas. Singing refers to vocal performances, while reading involves musical spoken parts pf a Chinese opera. （音乐性的念白）Together, they form the "singing" component, one of the two essential elements of the musical and dance-oriented Peking Opera. Acting encompasses dancing-type physical movements, while martial arts involve combat and acrobatic skills. Together, they form the "dance" component, the other essential element of Peking Opera. Only by mastering these techniques can the unique artistic characteristics of Peking Opera be fully expressed, enabling the portrayal of various characters in the plays.
京剧行当多样，人物性格突出。京剧的行当作为塑造人物形象独特的造型语言，常常与人物的脸谱一起，以表现出人物的性别、性格、年龄、身份等形象特征。按传统习惯来说，有“生、旦、净、丑”和“生、旦、净、末、丑”两种分行方法，在京剧中把“末”行逐渐归入“生”行，“生、旦、净、丑”作为行当的四种基本类型。“生”是正面男性角色，按其扮演人物属性、性格特征和表演特点，大致可分为老生、小生、外、末、武生、娃娃生等类。其中武生多扮演戏剧中年轻的男性武将，用一系列武打动作来展现剧中人物的武艺高强。“旦”是女性正面角色，根据人物的年龄、性格、身份、表演特征，分青衣(正旦)、花旦、闺门旦、刀马旦、武旦、彩旦。正旦所扮演的角色常穿青色的长衫，又名青衣。
青衣的表演庄重娴静，秀雅柔婉，以唱功为主。“净“角是舞台上具有独特风格的人物类型，因面部化妆要用各种色彩和图案勾勒脸谱，所以又俗称"大花脸”。在京剧中多为将军、神化人物或有一定社会地位的人，虽有文武善恶之分，但在性格气质上都近乎粗犷、奇伟、豪迈。”丑“角主要扮演戏剧角色，分为文丑、武丑等。不管文丑或武丑，虽有文武善恶、身份高低之分，在剧中都是幽默、滑稽的喜剧人物，也并不都是反派。京剧中常见的脸谱又分为红脸、黑脸、绿脸、白脸、蓝脸等，不同的脸谱进一步表现出不同的人物性格特征。如红脸一般表现性格猛烈的人物，代表忠勇(如东汉末年的武将关羽，黑脸一般寓意勇猛暴躁的性格，代表猛智公正(如北宋的名臣包拯)。
京剧的唱腔深情丰富，富有感情。唱腔在京剧中分为“二黄”和“西皮”两种声腔。“二黄”是一种节奏舒缓、旋律平稳、唱腔较为凝重、浑厚、稳健的声腔，适合表现沉郁、肃穆、悲愤、激昂的情绪。而“西皮”是一种节奏紧凑，旋律起伏变化较大，唱腔流畅、轻快、明朗、活泼的声腔，适合表现欢快、坚毅、愤懑的情绪。京剧中对不同行当饰演角色唱腔功底的要求也不尽相同，如生角中的老生，在剧中一般注重演唱和细腻表演，在唱腔上也最丰富。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。
Peking Opera features diverse roles with distinct personalities. The roles, known as "Hang Dang" (行当) in Chinese, play a unique role in shaping the characters' visual representation. They are often accompanied by facial makeup, 脸谱to depict the characters' gender, personality, age, and social status. Traditionally, there are two classification methods: "sheng, dan, jing, chou" and "sheng, dan, jing, mo, chou." The former includes the four basic types: "sheng" (生), representing male characters; "dan" (旦), representing female characters; "jing" (净), representing painted-face characters; and "chou" (丑), representing clown characters. The latter includes an additional category called "mo" (末), which gradually merged into the "sheng" category. Each category further divides into subtypes based on the characters' attributes, personality traits, and performance characteristics. For example, "sheng" can be divided into "Lao sheng" (老生), "Xiao sheng" (小生), "Wu sheng" (武生), and "Wa wa sheng" (娃娃生). "Wu sheng" often portrays young male warriors, showcasing their martial arts skills. "Dan" represents female characters and can be further divided into "Qing Yi" (青衣), "Hua dan" (花旦), "Gui Men dan" (闺门旦), "Dao ma dan" (刀马旦), "Wu dan" (武旦), and "Cai dan" (彩旦). "Qing Yi" characters typically wear long green robes and are known for their elegant and graceful singing. "Jing" characters have a unique style on stage and require various colors and patterns on their facial makeup, earning them the nickname "Da Hua Lian" (大花脸). They often portray generals, divine beings, or characters with high social status, exhibiting rough, majestic, and heroic traits. "Chou" characters primarily play comedic roles but are not necessarily villains. They can be divided into "Wen chou" (文丑) and "Wu chou" (武丑).
京剧发展蓬勃向上，源远流长。始于道光二十年至咸丰十年间的京剧，经历了孕育期、形成期、成熟期和鼎盛期，最终走向全国，走向世界，在艺术舞台上熠熠生辉，发光发亮。1927年“四大名旦“的脱颖而出，是京剧走向鼎盛的重要标志。而现如今的京剧，以其蕴藏和承载的文化内涵和精神价值，不断为民族文化的振兴焕发新生机所赋能，为民族精神的弘扬所贡献力量，以其优秀的表演风格和全面的艺术形式唱出中华文化，唱出中国戏剧，发扬中国风采，构筑中国戏剧传奇。
如今，在不断延续的未来，我们仍需了解京剧艺术，品味京剧文化；中国京剧艺术也需不断守正创新，与时代同接轨，与民众共前行，共筑中华优秀戏剧文化！
In the ever-evolving future, it is still essential for us to understand the art of Peking Opera and appreciate its cultural significance. Chinese Peking Opera art also needs to uphold tradition while continuously innovating, aligning with the times, and moving forward together with the people. In the end, we can build a splendid Chinese theatrical culture!
撰稿：徐梦雅
宣传发布：戴璐璐
