Proceedings of the 2013 International Conference on the Modern Development of Humanities and Social Science

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

Authors
Jao Hsun Tseng, Po Hsien Lin
Corresponding Author
Jao Hsun Tseng
Available Online December 2013.
DOI
https://doi.org/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.
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Proceedings
2013 International Conference on the Modern Development of Humanities and Social Science
Part of series
Advances in Intelligent Systems Research
Publication Date
December 2013
ISBN
978-90786-77-90-1
ISSN
1951-6851
DOI
https://doi.org/10.2991/mdhss-13.2013.80How to use a DOI?
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  -