Costumes function first to distinguish the rank of the character being played.
Some of the most complex plays may even have an emotional progression from scene to scene.ĭue to the scarcity of props in Peking opera, costumes take on added importance. It is these scenes that are usually excerpted for later zhezixi productions. There are several major scenes within the work that follow the pattern of emotional progression. Plays will alternate between civil and martial scenes, or scenes involve protagonists and antagonists. The overall story in these longer works is told through contrasting scenes. A full-length play usually has from six to fifteen or more scenes. For example, the concubine in the one act play The Favorite Concubine Becomes Intoxicated begins in a state of joy, and then moves to anger and jealousy, drunken playfulness, and finally to a feeling of defeat and resignation. These short works, as well as individual scenes within longer works, are marked by an emotional progression from the beginning of the play to the end.
This format has become less prevalent in recent times, but plays of one act are still performed. These plays usually center on one simple situation or feature a selection of scenes designed to include all four of the main Peking opera skills and showcase the virtuosity of the performers. Prior to 1949, zhezixi, short plays or plays made up of short scenes from longer plays, were often performed. The length and internal structure of Peking-opera plays is highly variable. For example, a whip is used to indicate a horse and an oar symbolizes a boat. Peripheral objects will often be used to signify the presence of a larger, main object. The stage will almost always have a table and at least one chair, which can be turned through convention into such diverse objects as a city wall, a mountain, or a bed. The presence of large objects is frequently indicated through conventions. This reflects seven centuries of Chinese performance tradition. In line with the highly symbolic nature of Peking opera, the form utilizes very few props. All characters enter from the east and exit from the west. Therefore, north is the most important direction in Peking opera, and performers will immediately move to "center north" upon entering the stage. Viewers are always seated south of the stage. Traditional Peking opera stages were built above the line of sight of the viewers, but some modern stages have been constructed with higher audience seating.
Musicians are visible to the audience on the front part of the stage. The stage is divided into two parts by an embroidered curtain called a shoujiu. The action on stage is usually visible from at least three sides. Peking opera stages have traditionally been square platforms.
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