China Folklore General Chronicle - (Performing Arts Chronicle) (Performing Arts Chronicle)

Author: Ni Zhongzhi
Publisher:
Publish Date: 2005-12-01
Features:
3. The Makeup Department, formerly known as "Hair Dressing Table Masters," was responsible for applying makeup to dan roles (female characters). Their main tasks included applying color, applying powder and grease, attaching hair pieces, and styling the "big hair" (a traditional hairstyle). This role was traditionally performed by older women, as it required precision and attention to detail. In recent years, female technicians have also taken on this role. It demands cleanliness, meticulousness, skillful hands, and speed. The makeup techniques must be adapted to the character's identity and costume colors, making the technical and artistic aspects highly demanding.
4. The Helmet and Hair Department, formerly known as "Helmet Box" or "Hat Box," managed various helmets, silk hats, foreheads, headbands, beards, nets, water gauze, hairstyles, and ornaments. They were also responsible for putting on and securing helmets. The skill of securing helmets was specialized to the department. First, the helmets must be tight enough to stay in place but not too tight to restrict movement, depending on the actions on stage. Second, the actors must be comfortable—avoiding the temporal arteries (the head vein) to prevent dizziness or discomfort. Third, timing is crucial—loosening the helmets beforehand and tightening them just before the performance can reduce the actors' burden and allow for adjustments on stage. Fourth, aesthetics must be considered to ensure the helmets are upright and the edges are neat. The Helmet and Hair Department also handled tasks such as applying "lotus leaf powder," tying soft headbands, shaping "moon-shaped colorful balls," styling "beauty buns," and creating "head knots" (e.g., for Qing Snake and Bai Snake characters tying a knot on their foreheads with two pointed ends). The beards and hairpieces must be smooth, and the "fruit knot" (a sliding knot) must be used for securing helmets—all skills the department's specialists must master.
5. The Stage Management Department included the "Stage Props" and "Door Curtain" personnel. The "Stage Props" were responsible for arranging tables and chairs on stage, setting up city gates, beds, and other props, as well as tasks like stacking high tables (stacking 3–4 tables), throwing cushions, and scattering firecrackers. Stage Props personnel needed to understand the play, knowing the dialogue and movements of each character, to arrange the props at the right time. Arranging props too early could affect the actors' mood, while doing it too late could disrupt their performance. They also had to consider the actors' height and habits, deciding how many cushions to use when arranging chairs. Otherwise, discomfort could hinder their performance. There were different types of table arrangements, such as "inside stage tables," "outside stage tables," "inside eight-character," "outside eight-character," "high seating," "low seating," "straight chairs," and "reversed chairs." Scattering firecrackers also required specialized techniques, such as "crossing beams," "hanging clouds," "upside-down hairpins," "holding towers," "full hall red," "consecutive cannons," and "upside-down and right-side-up moon gates." Throwing cushions was a unique skill of Stage Props personnel, requiring speed and accuracy, sometimes even throwing multiple cushions at once (legend has it a Yü Opera Stage Props master could throw seven cushions in one toss). These skills required apprenticeship and dedicated training.
The "Door Curtain" was also a specialized role in the opera troupe. During that time, the stage had a "back curtain" (similar to today's back curtain), embroidered with flower patterns, matching the table covers and chair drapes. The upper and lower doors had curtains, and there was a dedicated person to open them when actors entered. Especially for the upper door curtain, timing and energy were crucial to enhance the actors' entrance. Famous actors often demanded a "good head-on" entrance, and any delay or haste would affect the effect. Additionally, they had to master the actors' entrances...