A Comparison of the Use of Painted Faces in the Peking Opera with the Use of Masks in Western Theater

DOI

10.2991/mdhss-13.2013.80How to use a DOI?

Keywords

Peking opera, painted face, mask, theatrical disguise

Abstract

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.

Copyright

© 2013, the Authors. Published by Atlantis Press.

Open Access

This is an open access article distributed under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/).

Download article (PDF)

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  - Proceedings of the 2013 International Conference on the Modern Development of Humanities and Social Science
PB  - Atlantis Press
SP  - 304
EP  - 308
SN  - 1951-6851
UR  - https://doi.org/10.2991/mdhss-13.2013.80
DO  - 10.2991/mdhss-13.2013.80
ID  - Tseng2013/12
ER  -