京劇，又稱平劇、京戲，融唱、念、做、打四種藝術手法于一身，集文學、表演、音樂、舞臺美術等多種藝術形式于一體，是我國傳統(tǒng)戲劇的瑰寶。清代乾隆五十五年起，經(jīng)徽秦的合流、四大徽班進京、以及徽劇和漢劇的合流，使得京劇經(jīng)徽戲、秦腔、漢調的融合，并借鑒吸收昆曲、秦腔之長而形成了京劇。如今，京劇作為中國影響最大的戲曲劇種，其表演之細膩、角色之豐富、唱腔之深情、發(fā)展之蓬勃，成為在世界舞臺上一枝獨秀的中國藝術，為中國戲曲藝術的發(fā)展書寫新篇章，為人類文化傳承作出了寶貴的貢獻。

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.

京劇表演細膩生動，嚴謹有講究。在京劇中，演員表演虛實結合，最大限度地超脫了舞臺空間和時間的限制，以達到“以形傳神，形神兼?zhèn)洹钡乃囆g境界。唱、念、做、打作為京劇四種基本的藝術手法，要求演員從小就要從這四個方面進行訓練，每一位京劇演員都必須有過硬的四種基本功。唱指歌唱，念指具有音樂性的念白，二者相輔相成，構成歌舞化的京劇表演藝術兩大要素之一的“歌”；做指舞蹈化的形體動作，打指武打和翻跌的技藝，二者相互結合，構成歌舞化的京劇表演藝術兩大要素之一的“舞”。只有這樣才能充分地發(fā)揮京劇的藝術特色。更好地表現(xiàn)和刻畫戲中的各種人物形象。

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." （以形傳神，形神兼?zhèn)洌㏒inging, 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. （音樂性的念白）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.

京劇行當多樣，人物性格突出。京劇的行當作為塑造人物形象獨特的造型語言，常常與人物的臉譜一起，以表現(xiàn)出人物的性別、性格、年齡、身份等形象特征。按傳統(tǒng)習慣來說，有“生、旦、凈、丑”和“生、旦、凈、末、丑”兩種分行方法，在京劇中把“末”行逐漸歸入“生”行，“生、旦、凈、丑”作為行當?shù)乃姆N基本類型?！吧笔钦婺行越巧雌浒缪萑宋飳傩?、性格特征和表演特點，大致可分為老生、小生、外、末、武生、娃娃生等類。其中武生多扮演戲劇中年輕的男性武將，用一系列武打動作來展現(xiàn)劇中人物的武藝高強。“旦”是女性正面角色，根據(jù)人物的年齡、性格、身份、表演特征，分青衣(正旦)、花旦、閨門旦、刀馬旦、武旦、彩旦。正旦所扮演的角色常穿青色的長衫，又名青衣。

青衣的表演莊重嫻靜，秀雅柔婉，以唱功為主?！皟簟敖鞘俏枧_上具有獨特風格的人物類型，因面部化妝要用各種色彩和圖案勾勒臉譜，所以又俗稱"大花臉”。在京劇中多為將軍、神化人物或有一定社會地位的人，雖有文武善惡之分，但在性格氣質上都近乎粗獷、奇?zhèn)ァ⒑肋~。”丑“角主要扮演戲劇角色，分為文丑、武丑等。不管文丑或武丑，雖有文武善惡、身份高低之分，在劇中都是幽默、滑稽的喜劇人物，也并不都是反派。京劇中常見的臉譜又分為紅臉、黑臉、綠臉、白臉、藍臉等，不同的臉譜進一步表現(xiàn)出不同的人物性格特征。如紅臉一般表現(xiàn)性格猛烈的人物，代表忠勇(如東漢末年的武將關羽，黑臉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)。

京劇的唱腔深情豐富，富有感情。唱腔在京劇中分為“二黃”和“西皮”兩種聲腔?！岸S”是一種節(jié)奏舒緩、旋律平穩(wěn)、唱腔較為凝重、渾厚、穩(wěn)健的聲腔，適合表現(xiàn)沉郁、肅穆、悲憤、激昂的情緒。而“西皮”是一種節(jié)奏緊湊，旋律起伏變化較大，唱腔流暢、輕快、明朗、活潑的聲腔，適合表現(xiàn)歡快、堅毅、憤懣的情緒。京劇中對不同行當飾演角色唱腔功底的要求也不盡相同，如生角中的老生，在劇中一般注重演唱和細膩表演，在唱腔上也最豐富。臺詞用京劇中的韻白來表現(xiàn)，演唱用真聲，風格剛勁、挺拔、質樸、醇厚。

Peking Opera features diverse roles with distinct personalities. The roles, known as "Hang Dang" (行當) in Chinese, play a unique role in shaping the characters' visual representation. They are often accompanied by facial makeup, 臉譜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" (凈), 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" (閨門旦), "Dao ma dan" (刀馬旦), "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" (大花臉). 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).

京劇發(fā)展蓬勃向上，源遠流長。始于道光二十年至咸豐十年間的京劇，經(jīng)歷了孕育期、形成期、成熟期和鼎盛期，最終走向全國，走向世界，在藝術舞臺上熠熠生輝，發(fā)光發(fā)亮。1927年“四大名旦“的脫穎而出，是京劇走向鼎盛的重要標志。而現(xiàn)如今的京劇，以其蘊藏和承載的文化內涵和精神價值，不斷為民族文化的振興煥發(fā)新生機所賦能，為民族精神的弘揚所貢獻力量，以其優(yōu)秀的表演風格和全面的藝術形式唱出中華文化，唱出中國戲劇，發(fā)揚中國風采，構筑中國戲劇傳奇。

如今，在不斷延續(xù)的未來，我們仍需了解京劇藝術，品味京劇文化；中國京劇藝術也需不斷守正創(chuàng)新，與時代同接軌，與民眾共前行，共筑中華優(yōu)秀戲劇文化！

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：徐夢雅

宣傳發(fā)布：戴璐璐