Many artistic images on the stage of opera have their own faces, but the characters on the stage are limited after all, and it is the primary task of art to express the characters in life. Therefore, the typology of characters shows its necessity. On the opera stage, this typology is mainly reflected through facial makeup. The literati have the characteristics of the literati, and the warrior has the character of the warrior, but at the same time it summarizes many types of people. It must be based on real life and based on people in real life.
Opera is a stage art, and its vitality lies in its unique means of artistic expression, that is, singing, reading, doing, and playing. The change of singing voice from the music card body to the plate style makes the singing art more mature, and the virtual performance and stylized movements are the norms of the art of opera performance, and the opera mask is the higher standard of this art. We all know the story of the "King of Lanling", in order to retreat from the enemy, the King of Lanling deliberately wore a mask with a fierce face. This mask changed the original character of the Lanling King, from being beautiful and good-looking, to being ugly and evil, making the enemy frightened and fleeing. This effect of changing the viewer's psychological stereotype is used very freely by the opera. Generally speaking, it is difficult to find such an image in the face mask in reality, and the art of opera deliberately exaggerates a certain feature and expresses this feature in the face painting. "The loyal are carved with a righteous appearance" and "the evil are carved with an ugly shape" is such a manifestation. The face mask on the stage of opera is the best means to achieve the artistic image of the opera, and it also fully meets the objective aesthetic requirements of the audience.
From the perspective of the concept of tragedy in Chinese opera, Chinese tragedy has its own unique characteristics. First of all, the technique of expressing tragedy in Chinese opera is unique, and in the atmosphere of sadness and sorrow, it can be interspersed with comedic gags of supporting roles, which relieves the psychological pressure of the audience. Secondly, the tragic ending of Chinese opera is unique, and after going through ups and downs, the protagonist can finally be reunited. Some people once simply regarded this as the naivety of Chinese tragedy, but in fact this is precisely the uniqueness of Chinese opera tragedy. While expressing tragedy, Chinese opera always puts the aesthetic needs of the audience first. The audience is a complex group, and different levels of viewers have different requirements, but most of them want the tragedy to have a happy ending. Good is rewarded for good, and evil has evil consequences, which can be said to be a kind of mindset. Therefore, in Chinese opera, no matter how poor and destitute a good person is, he still has a positive image and does not lose the demeanor of a righteous man and a gentleman, and he will eventually be rewarded; no matter how rich and glorious a bad person is, he still has a negative image, he always behaves like a traitor and a villain, and the ending will be very happy. When the opera arrives on the stage, it clearly distinguishes the good and the bad, painting different colors and different patterns on the faces of the characters to make it clear to the audience at a glance. Red represents loyalty, white represents treachery, black represents roughness, and green represents chivalry...... The patterns of the face mask are also different, including the whole face, the three-tile face, the cross door face, the six-point face, and the pictogram face...... Different types of people hook up with different faces, which in the eyes of the audience. Therefore, the production of opera masks is the aesthetic need of the audience.
5. One of the following is not the cause of opera masks
A. The characters on the stage of opera are limited, and the face makeup of opera makes the limited characters on the stage of opera express the characters in life in a thousand forms.
B. The performing arts of Chinese opera not only need the standardization of virtual performance and stylized movements, but also the higher standard of artistic opera masks.
C. Exaggerate a certain feature of the character's physiognomy and realize the artistry of the character image to adapt to the audience's aesthetic requirements and change its psychological stereotype of people in life.
D. The audience is a complex group, and the audience at different levels has different requirements, and most of them want the tragedy to have a happy ending.
6. The following understandings and expressions are in line with the meaning of the original text
A. "Opera Masks."
is a kind of artistic generalization", the purpose of which is to type characters on the theatrical stage through certain artistic means.
B. Chinese opera has the characteristics of stylization, which is concentrated in the singing, reading, doing, and typing of the actors, and the "face mask" breaks through this formula.
C. The incident of King Lanling wearing a mask to retreat from the enemy inspired the opera to change the audience's original impression of certain people in life through facial makeup, so as to achieve the artistic image of the image.
D. The "wish" of "expressing their wishes" refers to the audience's demand to "distinguish the good and the bad from the bad" on the opera stage.
7. Based on the information in the text, one of the following inferences is correct:
A. The unique tragic technique of interspersing the comedic gags of supporting roles in a sad atmosphere to relieve the psychological pressure of the audience determines the unique characteristics of Chinese opera tragedy.
B. The design of the opera mask, whether it is red, black or green, in Chinese opera depends entirely on the audience's aesthetic needs for the opera characters.
C. The opera mask has two major characteristics: the personality of the color and the symbolism of the pattern, which can not only express the characteristics of different types of characters, but also clearly express the character characteristics of the characters.
D. Different types of people have different faces, mainly to be able to distinguish the good guys and the bad guys clearly on the stage, so that the audience can see them at a glance.
5.D (From the first and second paragraphs of the article, the content of the three options A, B, and C can be extracted or integrated, and these three statements are correct.) Item D refers to the audience's aesthetic requirements and aesthetic hopes, and does not belong to the "cause of opera masks".
6. A (item B "breaks through this program" is wrong, but makes it "a higher standard of art" Item C is wrong, the story of King Lanling is only an analogy in this article, indicating that the appearance of the characters has the effect of "making the viewer change their psychological stereotype", and the article does not say that it has a direct "inspiration" effect on the creation of opera masks, and the two do not constitute a direct causal relationship. Item D is wrong, "wish" should also refer to the audience's hope that the opera will use facial makeup to show the characteristics of the stage characters, such as good and evil, good and evil, loyalty and treachery, and at the same time, the fate of the characters can be in tune with their image characteristics)
7.C
(A. As can be seen from the third paragraph, the inferences about the unique characteristics of Chinese opera tragedy are incomplete, and the tragic ending of Chinese opera is unique.) B from the first paragraph "Drama face."
The typology of the spectrum is a kind of artistic generalization, which must be based on real life and based on the people in real life", it can be seen that the modeling of opera masks is actually inseparable from "real life" and "people in real life". C can be inferred from the first and third paragraphs. D. The purpose is wrong, mainly "to show the wishes of the audience and cater to the aesthetic needs of the audience." ”）