The art of Chuan Ju
The origins of Chinese opera can be traced back to the Three Kingdoms period (220-280 A.D.). There are numerous branches of this ancient performance art, each with its own complex history. Sichuan opera seems to have appeared in Chengdu towards the end of the Ming Dynasty (1368-1644) when migrants introduced fresh ideas to the region. Dramas from other places started to incorporate the local dialect, and folk traditions to produce operas more reflective of Sichuan culture.
In the early 20th century a revival movement appeared. One of the best known reformers of the art was Kang Zhilin, leader of the Sanqing, (Three Celebrations Company). This notable opera troupe merged five established styles into a single opera. During the early years of communism the opera suffered a decline, however since the economic reforms of the late 1970s there has been a massive resurgence.
Sichuan opera is famed for its singing which is less constrained than other regional variants. In fact it is much more like a play, with highly polished acting; Songs are used as a medium for storytelling. The music is stripped down to the sounds of a small gong and an Erhu type two- stringed fiddle. Unlike western opera, Sichuan opera rarely involves start to finish plotlines or dialogue. Instead it combines several component parts with circus like stunts such as sword-swallowing, fire breathing and clowning. The highlight for many is the face changing, a technique that was used as early as the Ming dynasty (1368-1644) to portray characters such as gods and spirits. Originally actors would head backstage to change masks, but this evolved into a stunt to be performed on stage.
Early attempts at face changing were achieved by applying marks to certain parts of the face from paint concealed in the palms of the hand. Another method involved the performer blowing at a powder filled vessel strategically positioned on stage. The coloured powder would then puff up and stick to the actors oiled face. By 1920 performers were using layers of masks made from paper and other light material. Skilled performers would peel off one mask after another. This complicated technique has become a closely guarded secret, passed down through theatre families. In one routine masks painted on well-cut pieces of damask are hung with a silk thread and lightly pasted to the face one by one. The thread is fastened to an inconspicuous part of the costume, so that with a flick of the cloak the performer magically whisks the masks off one by one as the drama unfolds. A multitude of up to 24 different coloured masks effectively portray a complex sequence of emotions. The world record is held by Peng Denghui, who changed 14 masks in 25 seconds.