China Folklore Compendium (Performing Arts Chronicle)

Author: Ni Zhongzhi
Publisher:
Publish Date: 2005-12-01
Features:
3. The (Makeup Department) was formerly known as "" (Hair and Makeup Table Masters), specializing in applying makeup for dan roles (female characters). Their main responsibilities include applying colored powder, applying greasepaint, attaching hairpieces, and styling the "big head" (a traditional hairpiece). This role is traditionally performed by older women, as it requires meticulous attention to detail, dexterity, and speed. The makeup must be applied flexibly based on the character's identity and costume color, incorporating various facial makeup techniques. Therefore, this role demands both technical proficiency and artistic skill. In recent years, female technicians have also taken on this role.
4. The (Armor and Headwear Department) was formerly known as "" (Armor Box) or "" (Headwear Box). They are responsible for managing various helmets, silk hats, forehead pieces, headbands, beards, nets, water gauze, hairstyles, and decorative items. They also handle putting on and securing helmets. "" (securing helmets) is a specialized skill of this department. First, the helmet must be secured tightly enough to stay in place but not so tight as to restrict movement, depending on the intensity of the performance. Second, the actor must be comfortable—avoiding pressure on the head veins (the occipital and temporal arteries) to prevent dizziness or discomfort. Third, timing is crucial: the helmet can be loosely secured first and tightened just before the performance to reduce the actor's burden, and adjusted as needed during the performance. Fourth, the helmet must be aesthetically pleasing, ensuring it sits straight and the edges are neat. The armor box master also handles tasks such as applying "tugouye" (a type of leaf decoration), tying soft headbands, shaping "chanzitou" (a type of hat), creating "yuanyechangqiu" (a crescent-shaped decorative ball), styling "meirenji" (a traditional hairstyle), and tying "tou na" (a knot, such as the one worn by Qing Snake or Bai Snake on their foreheads, with two points pointing upward). The beard and hair must be neatly arranged so they look natural when thrown during the performance. The "" must be tied with a "guozikou" (a sliding knot that can be adjusted from both sides), a skill all armor box masters must master.
5. The (Stage Support Department) includes the "" (Stage Setup) and "" (Door Curtain Puller) roles. The "" is responsible for arranging tables, chairs, and other props on stage, such as city gates, beds, and curtains. They also handle tasks like stacking high tables (stacking 3–4 tables), throwing cushions, and scattering firecrackers. The must understand the play, knowing the dialogue and movements of each character, to ensure proper timing. Arranging props too early can affect the actors' emotions, while doing it too late can disrupt their performance. They must also be aware of the actors' heights and habits to decide how many cushions to place under chairs, ensuring the actors are comfortable and the performance is not hindered. The arrangement of tables and chairs includes types such as "field tables," "stage tables," "inside eight," "outside eight," "high seating," "low seating," "straight chairs," and "reversed chairs." Scattering firecrackers also requires specialized techniques, such as "guoliang" (crossing the beam), "diayun" (hanging clouds), "daozan" (upside-down hairpin), "tuotuo" (holding a pagoda), "mantanghong" (full hall red), "lianzhupao" (consecutive cannons), and "zhengfan yuemoemen" (front and back moon gates). Throwing cushions is a unique skill of the, requiring speed and accuracy, sometimes even throwing multiple cushions at once (legend has it that a Yuyi opera master could throw seven cushions in a single toss). These skills require apprenticeship and specialized training. The "" is also a specialized role in the opera troupe. During performances, the stage had a "shoujiu" (similar to today's back curtain), embroidered with floral patterns, matching the table covers and chair drapes. The entrance and exit doors were adorned with curtains, and a person was needed to pull them when actors entered. Pulling the entrance curtain, especially, requires precise timing and energy to enhance the actor's entrance. Famous actors often emphasize "" (a smooth, impactful entrance), and any delay or haste can ruin the effect. Additionally, the door curtain puller must master the actors' entrances and exits.