Changing face is a form of Sichuan opera. All the organs are in the clothing, and the key lies in the flexible and coordinated expression of the body.
Does the traditional program face changing belong to acrobatics or magic
Changing face is a stunt used in shaping characters in Sichuan Opera. This is acrobatics.
Adopt it
Is changing face magic?
Yes, in fact, the definition of magic is very simple, that is, "an incredible performance"
Is there any good place to recommend a face-changing performance?
The face-changing performance is to go to Xilai Shu Yun Garden, where the environment is elegant, the program performance is also wonderful, and the actors' performances are quite in place. It is a good place.
Why is China called the number one acrobatic in the world?
History of acrobatics in China
China's acrobatics began in the Neolithic Age. After the unification of China in the Qin Dynasty, it absorbed the advantages of Jiaodi from other countries and formed an entertaining acrobatic program-Jiaodi Opera.
By the Han Dynasty, the content of Jiaodi Opera was more substantial, the types were richer and the skills were more superb. By the Eastern Han Dynasty, a new variety of acrobatic art had been formed, which brought together various performing arts-"Hundred Dramas" system.
During the Southern and Northern Dynasties, the frequent artistic exchanges among various ethnic groups made acrobatics eclectic and colorful. Not only the folk foundation is rich, but also the court performances of various dynasties are colorful.
In the Tang Dynasty, some programs got amazing development and showed unprecedented superb skills. Among them, the art of "shoulder pole" is extremely high, equestrian events have also developed greatly, and animal training has reached a quite high level.
Since the Song Dynasty, acrobatics began to move from the palace to the folk, creating a variety of new programs. The rise of washe and Goulan gave artists a place to perform. In addition, there were professional acrobatic classes and "science classes" to train new people in the Song Dynasty.
After the Song Dynasty, the social status of acrobatics went from bad to worse. After the establishment of the Yuan Dynasty, acrobatics degenerated into the Jianghu art of wandering around and playing tricks. In Qing Dynasty, most artists performed as family members or made a living by performing on the move. In modern times, acrobatics has been relegated to the unpretentious hall "inferior".
After liberation, acrobatic art gained a new life. Acrobatics has developed from a simple skill performance to a comprehensive artistic performance with band, dance and lighting. Under the leadership of the Party, contemporary acrobatics in China has become a wonderful work of art deeply loved by people all over the world.
Artistic Features of China Acrobatics
The artistic features of acrobatics in China are generally manifested in the following aspects:
The first thing is to pay special attention to the training of waist and leg jacking. Acrobats in China should have a solid foundation in martial arts, even if they perform colorful stunts in ancient times.
The second is to seek stability in danger and seek quietness in action, showing calm, ingenious and accurate skills and efforts. For example, all kinds of thrilling performances in tightrope require "stability".
The third is to seek innovation in the ordinary, and to show human creativity from scratch with superb and ingenious methods.
The fourth artistic feature is the combination of light and heavy, spiritual blending, and soft and hard kung fu complement each other. The best performance of this artistic feature is the program Pedal Skills.
The fifth is the combination of superhuman strength and dexterous somersault skills. For example, in the contemporary "1000 Tons of Bears" program, an old actor lifted four stone bears and seven or eight actors at the same time, weighing more than 1000 tons, showing superhuman strength.
Sixth, a large number of household appliances and labor tools are used as props, which are full of life breath, showing the close relationship between acrobatics and China's working life.
The seventh is the combination of simple arts and crafts and physical skills. For example, performances such as "Juggling Jar" and "Spinning Disc" combine China's porcelain painting art with acrobatics.
Eighth, acrobatics has great adaptability in China, with diversified performance forms and venues.
Ninth, acrobatics in China has a strict tradition of learning from others and is closely related to sister arts. Every acrobatic skill of China has been passed down from generation to generation, but at the same time, he has absorbed a lot of nutrition from opera, dance and martial arts.
These artistic features constitute the unique charm of China's acrobatics.
Acrobatics in a broad sense is a general term for all kinds of extraordinary skills. In ancient times, it was also called "acrobatic music" and "acrobatic music". In the all-round development stage of primitive art, it was inseparable from music and dance and became the dominant culture at that time. Like music and dance, it was dazzling in the courts of the Han Dynasty (206 BC-220 AD) and the Tang Dynasty (6 18-907 AD). After the Song and Yuan Dynasties (10 ~14th century), with the contempt for classical dance, acrobatics was reduced to Jianghu and regarded as inferior. However, some of the unique skills of the previous dynasty were passed down from generation to generation and kept improving. China acrobatics spread overseas in the late Qing Dynasty and the early Republic of China, enjoying a high reputation in Europe and America. The Qin Dynasty (2265438 BC+0 ~ 207 BC) introduced the folk Jiaodi opera into the court. In the Han Dynasty, Jiaodi Opera developed into a variety of acrobatic festivals, including Jiaodi Hundred Operas, among which sword-making, pill jumping, handstand, rope walking, beast dancing, bird shooting, horse riding skills, pole riding, pole-riding, * * fighting, five cases, seven sets, dragon dancing and lion shooting were very popular. According to records, Emperor Wu of the Han Dynasty (reigned from 65438 BC to 86 BC) held a grand banquet and reward ceremony in the spring of the third year of Yuanfeng (65438 BC+008 BC) to show the country's wealth. At the banquet, unprecedented acrobatic music was played. ......
Is flower arrangement acrobatic or magic?
No, the acrobatics you said are not acrobatics, but hand-painted ones. Liu Qian's hand color is also quite awesome. It's just that he doesn't use it much in TV programs.
The magic arrangement in Liu Qian's TV programs should meet many conditions, such as the effect of the party, the length of the party, the sequence of the programs and so on. So the hand color is not much.
Moreover, Liu Qian pioneered China's close-range magic. The time of the party is counted by seconds. Liu Qian wants to show off his hand color, but time doesn't allow. ...
How did the face change in Peking Opera come about?
Stick a lot of faces on your face first, all of which are connected to your hands with a thin thread. Then wave your hand, cover your face and pull down a face. It's basically the same.
The details are not clear.
At that time, Andy Lau had not succeeded in his studies. But now it seems that he has begun to reveal something.
A movie about changing faces.
Face change-face change
After entering the 1990s, although Shaw Company did not make great achievements in film production, some films it invested in after becoming an investor were still quite standard.
In the 1930s, because of the corrupt rule of the Republic of China, the people of the whole country were destitute. The story of face/Guan happened in such an era. An old artist with a unique skill of changing face, the King of Changing Face, lives alone in a small boat, wandering on both sides of the Sichuan River and earning a living by performing arts. Because he lost his son in his early years and no one passed on his stunts, the face-changing king felt that he was in his later years and decided to buy a boy as his grandson to inherit the incense. What the child bought was just a girl who mixed men's clothes with women's clothes. As a result, the girl and the face-changing king became apprentices. The good times didn't last long. The girl dog accidentally burned the boat and dared not see the face-changing king again. She was taken away by traffickers again in the wandering. At the trafficker, Gowa met a boy who was also captured by the trafficker. A godsend is the master of the local garrison commander Wen Jia. Unknowingly, Gowa escaped with the God-given, and sent the God-given as his grandson to the ship of the Face-changing King. The face-changing king was taken away as a trafficker, beaten into a confession and sentenced to death. The dog begged the male Danhuo Guanyin, who had appreciated the unique stunt of the face-changing king, for help, and finally moved Mr. Wen to mediate. The face-changing king was rescued, and finally he passed on his unique skills to the dog baby and inherited the mantle.
This film shows the hard life of an old artist of Sichuan Opera. The face-changing king is a typical conservative. It's a pity that China's ancient concept of passing on his stunts from generation to generation has led to the loss of countless folk stunts, and the face-changing king is also a person who sticks to this concept. Because of this conservative concept, it also determines the hard life that the face-changing king is doomed to in this era. The face-changing king is full of pride and pride in his bones, but in this era, he is like a tiger in Pingyang and can only become a street performer. Even with stunts, it is difficult to get rid of the poverty of life and can only feel the fate alone.
Living Guanyin is the representative of another artist's image in this era, and it seems to be entrusted by the public psychology. It is a model that can fully integrate into the tide of society, and the face-changing king is another model that is excluded from the mainstream of society, that is, the so-called sensible person. The face-changing king refused the invitation of the living Guanyin because he refused to give up his idea. Of course, he is the representative of the ignorant. The living Guanyin is the most big noble that the face-changing king met in his later years. In this era of moral decay shown in the film, it is indeed the greatest blessing for the face-changing king to meet such a kind person as Live Guanyin, and finally being saved by the dog baby is also an affirmation of good people.
Dog dolls are a portrayal of society's preference for boys over girls, and the people are miserable. At that time, a baby girl could be bought for only two dollars, and the child was already a burden in the eyes of parents. It is the dog doll's helplessness to cheat the buyer by pretending to be a boy. She has been sold for seven times, and the life she has experienced is worse than that of animals, which modern people can't imagine. It is also a profound hatred for the old society. In order to repay the kindness of taking in, the dog doll brought a gift to the face-changing king, recreating the scene of Guanyin giving his life to save his father from becoming a Buddha in the live Guanyin drama. No matter how the face-changing king treated her, he saved himself in the dog doll's heart. She doesn't know any ancient books. She imitates the story of Guanyin just because she saw the performance of the living Guanyin, but she knows what kindness is. To tell the truth, buying such a child, in addition to embodying the truth of growing melons, is indeed a blessing for the face-changing king.
The shooting technique of the film is exquisite, and the emotional treatment of the characters is accurate. For the background of the times, there is not much deliberate performance in the camera, only by telling the bumpy experience of a face-changing king to show this war-torn era. The face-changing king was beaten into a confession and accused of kidnapping all children, which is a reflection of the darkness of society. Mr. Wen came forward to rescue the face-changing king, which is a reflection that the military power was greater than the local power in that social period. What causes this situation is the ugliness of the times, which is exactly what the film wants to reveal. The indifference of the world is not as good as a monkey around the face-changing king. The music of the film is mainly folk music, which contains a touch of sadness to express this sad era.
This film, named FACE/OFF, is not only based on the stunt of the face-changing king, but also used to show the changes of people's attitudes in reality, including several changes of the face-changing king's attitude towards dog dolls. These changes are all from the ugly face of society. The most commendable lines in the film are full of ancient China. ......
Where can I teach face changing?
Changing face is a feature of creating characters in Sichuan Opera.
Generally, it is passed down in the family, and it is rare to accept disciples with foreign surnames.
LZ is not easy to find, but it is taught by acrobatic troupe and art troupe. LZ can consult.
What are the ancient acrobatics? Example: the chest was broken by a big stone,,,,,
Walking a tightrope, climbing a ladder at the top of your mouth, drilling a fire ring, changing valves, spraying fire, somersaulting, stacking arhats, frisbee ... Tips: Most of the teachers' knowledge of ancient acrobatics is seen in TV dramas. If you hand in your homework, think about how it is shown in TV series.