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.
By:
Alexandra B Bonds
Imprint: Routledge
Country of Publication: United Kingdom
Dimensions:
Height: 280mm,
Width: 210mm,
Weight: 1.392kg
ISBN: 9781138504776
ISBN 10: 1138504777
Pages: 394
Publication Date: 23 January 2019
Audience:
Professional and scholarly
,
Undergraduate
Format: Paperback
Publisher's Status: Active
"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"
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
Reviews for Beijing Opera Costumes: The Visual Communication of Character and Culture
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
