The relationship between the music and the drama – the story – is the essence of what any opera is. Both the West and China have produced numerous operas in many different traditions and genres. As a much-cherished traditional art form in China, Peking Opera was formed through the combination of various music and performing techniques. Having a history of 160 years, Peking opera was formally created in 1790 through the merging of several regional styles in China that have their roots in the 13th century. It has created many 'firsts ' in Chinese dramas, such as the abundance of repertoires, the number of artists and opera troupes. Western opera, on the other hand, originated from Greek Drama, arose at the beginning of the 17th century. It is …show more content…
Each role has its own particular singing style, and many other different singing patterns can be distinguished in each category. The ‘Sheng’ acts the main male role in Peking opera, uses the real voice. 'Dan ' acts the feminine positive role, uses mainly falsetto. 'Jing ' acts the supporting role of greathearted masculine and 'Chou ' acts as a lively, humorous, quick-witted masculine. Classified by voice types and genders, Western opera has base singers, baritones, tenors, altos, mezzo-sopranos and sopranos. It is up to the composer which vocal range he chooses for each character. Besides the gender of the performers, the characters’ makeup plays a huge part in specifying their identity throughout the performance. The theatrical makeup in both operas seeks to create the illusion of a visually striking scene by enhancing the dramatic value using brilliant colors on stage. The 'mask-like facial makeup ' (lianpu) that the Peking opera puts on the actor’s face, vividly depicts the traits of each character, while harmonizing with the gestures used in that particular role. Good men are usually painted with simple designs, while the faces of villains or robbers bear more intricate ones. The military clowns (wuchou) wear white patches of make-up around their eyes and noses. There was not a need for the classification of colors to indicate the nature of the characters in Western opera. With Shakespeare, the giveaway for a clown can be someone who is digging a
The Blackamoor in Petrouchka may not need to be in Blackface for the reasons Pherank points to (I imagine there may be Fokine/Benois purists who feel otherwise) but that, in and of itself, exposes the degree to which the makeup isn 't the ultimate issue. The ballet works with broad types. And it does work--absolutely I think it should be revived. But getting rid of blackface make-up won 't put an end to arguments about what is happening in it and what world view it reflects when it comes to a character like the Blackamoor. I 'm not in favor of censorship...
The patriarchal mindset in China for thousands of years has remained and intensified in the Tang and Song eras. In all social classes, the household was run by a patriarch and the role was passed on to the eldest son. The burden of providing for the family and making all the decisions remained in the hands of men whereas women had the burden of becoming a homemaker and mother, and particularly the bearer of sons to continue to the patrilineal family line. Such gender roles were reinforced by neo-Confucian ideals which promoted the male hierarchy. Specifically, upper-class women had freedom to pursue different activities and even professions beyond homemaking.
During Chino’s final year at Art and Design, he was introduced to futurist who Chino wanted to do what they did as well help rekindle culture since it was dead. So they wanted to start everything from a base. Chino felt that even though they were from upper middle class, he still could relate the anger they felt even if Chino was lower class. Chino wanted to reinvent himself so he can have a better life than his parents had. This is when Chino is introduced to being more aware of his environment that he started to notice his community needed to be upgraded.
Throughout our ancient history, women have portrayed various different roles in different ancient civilizations. Whether it was taking care of their children and men at home, working in the fields, or doing hard labor, these women shaped the way women act, and the roles they portray today. The Han Dynasty was one of those ancient civilization where women portrayed different roles. During the Han Dynasty, which lasted from about 206 BCE to 220 CE, women led very limited lives as compared to men, similarly to many other ancient civilizations (Bowman). They were viewed as the bottom of the power hierarchy in addition to the gender hierarchy.
A comparison of the Beijing Opera and the Italian Opera reveals a significant contrast in almost all fundamental areas of music between the two examples. Because of cultural influences, the two performances share little commonalities, as the timbre, medium, elements of pitch, rhythm, dynamics, form and phonic structure are definitely not similar. For instance, the musical and physical performance dynamics of the Beijing opera music are forceful, the timbre is loud, tinny and harsh, the rhythm is lively and vigorous, while the Italian Opera music has a gentle dynamic, steady and rolling rhythm and an emotionally deep timbre. One commonality that is noted for both examples, is the powerful delivery of the entertainment.
In this essay, I’m going to discuss the gender roles in the paintings of Dalí, in the film “Un Chien Andalou” by Buñuel and the poems of Federico García Lorca. Gender roles play a huge part within these works. All three of these artists had the ability to showcase something beautiful or majestic through disturbing and off putting imagery. This is what made their work so distinctive compared to many other artists during the surrealist period. The main things all of these artists have in common are their feelings and expressions of gender roles.
Women & Power in Imperial China Women rulers during Imperial China were extremely rare. The major belief and assumption of women and power was that women and political power were not a very good mix. If and when women did rule, it was a sign of male weakness, and considered to be political ploy in politics.
The movie “The Princess and the Frog” is not your typical “boy saves girl” movie. Instead, this Disney movie presents us with a strong female lead who doesn’t need a man to achieve her goals. In many previous Disney movies, it is demonstrated that a girl needs a man in order to get her happily ever after. Without a prince, she is nothing. In “The Princess and the Frog” the gender roles are presented to us as equal, even reverse at times.
King Louis XIV’s absolute monarchy influenced the French opera as well. An unmistakably French overture began each opera with the majesty and splendor fit for King Louis XIV in order to welcome and signify his entrance (Bukholder, et al. 361). Overall, French Baroque operas were characterized by their restraint according to naturalism, an adherence to the text, and less importance placed on
The female representation in all Star Wars movies was primarily made up of only two characters, Leia and Padme, until episode 7. The female characters during the first 6 episodes had some strong stereotypical imagery. A scene where Leia was a slave in a bikini was frequently used as a reference for her. For Padme, it was her sentimental relationship with one male character. In episode 7, “Star Wars: The Force Awakens”, the female representation changed positively with more participation in leading roles and one of the three producers.
Musical theatre performance, which presents fictional plots and impresses audiences with show-stopping dance and song, unites dramatic works across the globe. American musical theatre, specifically, draws inspiration from European straight plays, burlesques, and operas, while dramatizing American topics. Nineteenth-century musical comedies use entertaining situations, rather than plot, to frame performances involving song, dance, and humor. For example, George M. Cohan’s works, although inspired by European musical theatre, fail to please audiences as its unified music and book neglect the plot. By the twentieth century, however, pioneers such as Oscar Hammerstein II create musical theatre shows, such as Show Boat, where the plot holds the
Trifles the Challenge The play, Trifles, places both men and women in sharp contrast to one another in relationship to their roles and social position in the society. While men occupy the important positions such as the Sherriff and the county attorney, women are basically attributed to no more than playing domestic roles. Indeed, even in the investigation of Mr. Wright’s murder, men are playing the core role of investigators while women are simply left in the kitchen to play the minor of collecting things requested by Mrs. Wrights. The social stereotypes of men playing important roles than women in the society is set and advanced by the setting of the play.
Ancient plays throughout different cultures in history contained all male cast, failing to even cast women as they were deemed inferior. Tradition held that the culture in western societies restricted women’s roles. Even as female characters were indeed written in certain plays, the role were portrayed by a male. They regarded women being able to portray these roles as dangerous and that having men play them “neutralized” the danger it possessed. The Greek’s and the Roman’s both held these views making it impossible for women to be on stage.
This role has diminished through the twentieth and twenty-first centuries, but the need to be masculine remains in countless men. Makeup, tights, and ballet shoes are not considered manly. Therefore, a subsequent stereotype has become prevalent. Persistently, people erroneously believe all danseurs to be gay, weak, and feminine. Frequently, male dancers are left to feel inadequate and are discouraged from their art because their manliness is questioned.
“And though she be but little, she is fierce” -William Shakespeare. In today’s day and age, one of the greatest topics of debate is gender roles. It is evident everywhere, from cyberspace to the streets of home, from online petitions to marches across the country such as the Women’s March. Shakespeare lived in the Elizabethan Era of England, where Queen Elizabeth I, the virgin queen ruled.