A Comparison of the Use of Painted Faces in the Peking Opera with the Use of Masks in Western Theater
- Jao Hsun Tseng, Po Hsien Lin
- Corresponding Author
- Jao Hsun Tseng
Available Online December 2013.
- https://doi.org/10.2991/mdhss-13.2013.80How to use a DOI?
- Peking opera, painted face, mask, theatrical disguise
- One of the most typical features of the Peking opera is its use of vivid makeup, especially in its variety of painted faces. The idea of the painted face was derived from the mask. Like masks in the western theater, painted faces generate the effect of facial transformation. Painted faces and masks share some common functions, reflecting the essence of the theatrical art. This study examines the origin and development of painted faces in Peking opera and of masks in the western theater. Through extensive comparisons and analyses, this study attempts to explore similarities and differences of these theatrical disguises in terms of ontology, aetiology, performance style, artistic expression, and cultural significance.
- Open Access
- This is an open access article distributed under the CC BY-NC license.
Cite this article
TY - CONF AU - Jao Hsun Tseng AU - Po Hsien Lin PY - 2013/12 DA - 2013/12 TI - A Comparison of the Use of Painted Faces in the Peking Opera with the Use of Masks in Western Theater BT - 2013 International Conference on the Modern Development of Humanities and Social Science PB - Atlantis Press SN - 1951-6851 UR - https://doi.org/10.2991/mdhss-13.2013.80 DO - https://doi.org/10.2991/mdhss-13.2013.80 ID - Tseng2013/12 ER -