Sheng (Chinese opera)

For the music instrument used in some Chinese opera genres, see Sheng (instrument).

Sheng
Chinese	生
Literal meaning	scholar
Transcriptions Standard Mandarin Hanyu Pinyin Shēng

The sheng is a role type in Chinese opera for dignified and respectable male characters such as Confucian scholars, nobles, or heads of households. ^[1] They may be portrayed by either male actors or actresses.

Subtypes

The famous strategist Zhuge Liang is an example of a laosheng character.

The sheng has numerous subtypes. The two major subdivisions are the laosheng (older gentlemen) and xiaosheng (younger gentlemen), with another important subtype being the wusheng (martial men). ^[1] Peking opera troupes will always have a laosheng actor. A xiaosheng actor may be added to play roles fitting to his age. In addition to these main sheng, the troupe will also have a secondary laosheng. ^[2]

Laosheng

The laosheng (Chinese :老生; pinyin :lǎoshēng) is a dignified older role, usually distinguished by a long, thin, three-part beard called a sanliuran (simplified Chinese :三绺髯; traditional Chinese :三綹髯). ^[1] These characters have a gentle and cultivated disposition and wear sensible costumes. One type of laosheng role is the hongsheng (simplified Chinese :红生; traditional Chinese :紅生; pinyin :hóngshēng), a red-faced older male. The only two hongsheng roles are Guan Yu, the Chinese god of sworn brotherhood, loyalty and righteousness, and Zhao Kuangyin, the first Song dynasty emperor.

Xiaosheng

Young male characters who are either unmarried or recently married ^[1] are known as xiaosheng (Chinese :小生; pinyin :xiǎoshēng). These characters sing in a high, shrill voice with occasional breaks to represent the voice changing period of adolescence. Depending on the character's rank in society, the costume of the xiaosheng may be either elaborate or simple. ^[3] On-stage, xiaosheng actors are often involved with beautiful women by virtue of the handsome and young image they project. ^[4]

Wusheng

The wusheng is a martial character for roles involving combat. They are highly trained in acrobatics, and have a natural voice when singing. ^[3]

References

1. Bonds, Alexandra B. (2008). Beijing Opera Costumes: The Visual Communication of Character and Culture. University of Hawaiʻi Press. pp. 3–5. ISBN   978-0-8248-2956-8.
2. Wichmann, Elizabeth. Listening to Theatre: The Aural Dimension of Beijing Opera. University of Hawaii Press. p. 7–8.
3. Unknown Author (2000). "Peking Opera". It's China Network - TYFO.COM. Archived from the original on June 7, 2007.
4. Chengbei, Xu (2006). Afternoon Tea at the Beijing Opera. Long River Press. p. 163. ISBN   978-1-59265-057-6.