绪论
越南的研究现状
《 Nghệ Thuật Sân Khấu - Hát Bội, Đờn Ca Tài Tử Và Cải Lương Ở Sài Gòn Và Nam Kỳ
Cuối Thế Kỷ XIX Đến 1945》 1 ，其依据是许多书报和文学作品，目的是勾勒“戏剧”艺
中国的研究现状
With the introduction of "Chinese Peking Opera 2," those interested in learning and appreciating this art form can utilize this guide to understand its texts Foreigners experiencing Peking Opera for the first time often find it distant and challenging to comprehend In reality, even contemporary Chinese individuals may struggle to connect with Peking Opera However, by dedicating time to explore its artistic features and cultural depth, one can discover the poetic essence embedded within, and perhaps, find themselves captivated by this unique art form, even waking up to its melodies each morning.
研究创新点与重要性
Each country has its own unique culture, and China and Vietnam are two nations with rich cultural heritages that, while sharing some similarities, remain distinctly independent By comparing and understanding "Peking Opera" and "Vietnamese Theatre," this article partially illuminates the cultural identities of the Chinese and Vietnamese people The creativity and significance of these two ancient art forms reflect the cultural characteristics of both nations, establishing them as essential artistic expressions of the Chinese and Vietnamese peoples.
Nguyễn Đức Hiệp trong tác phẩm "Nghệ Thuật Sân Khấu - Hát Bội, Đờn Ca Tài Tử Và Cải Lương Ở Sài Gòn Và Nam Kỳ Cuối Thế Kỷ XIX Đến 1945" đã khắc họa rõ nét sự phát triển và ảnh hưởng của các loại hình nghệ thuật sân khấu truyền thống tại Sài Gòn và Nam Kỳ trong giai đoạn lịch sử quan trọng Nhà xuất bản văn hóa nghệ thuật đã phát hành cuốn sách, góp phần lưu giữ và truyền bá giá trị văn hóa nghệ thuật đặc sắc của vùng đất này.
2Từ Thành Bắc, Kinh kịch Trung Quốc, Nhà xuất bản tổng hợp Tp Hồ Chí Minh，06-2013
第二章 中国“京剧”艺术与越南“戏剧”艺术简介
I 中国“京剧”艺术简介
1 中国“京剧”艺术的概念
Peking Opera, known as "Jingju," is a traditional Chinese opera that originated and developed in Beijing during the Qianlong period of the Qing Dynasty It is a fusion of Huiju and Han opera, often referred to as the "Oriental Opera" and celebrated as a pure representation of Chinese national culture.
于 1790 年，“四大戏剧团”将京剧带到北京，是乾隆 80 岁生日（9 月 25 日）。 3
2 中国“京剧”艺术的出生历史
In ancient China, theatrical performance art encompassed various forms, including dance, storytelling, acrobatics, comedic acts, circus performances, and martial arts By the Tang Dynasty, this evolved into what is known as "Jingju," or Beijing opera, originally referred to as "Tan Jun Xi."
到宋朝，“贪军戏”成为“杂剧”。
During the Southern Song Dynasty, Wenzhou became renowned for its rich tradition in drama and dance, giving rise to a unique art form.
“南戏”（南宋戏剧）。
到元朝：“杂剧”有一份强调对生活习惯和社会弊端的批评。元代后期，
"Nanxi" has become a legendary art form, characterized by its unique music that encompasses folk songs, rural ballads, and local melodies This rich musical heritage has evolved into a system of four distinct regional styles: Haiyan, Yiyang, Yuyao, and Kunshan (Kunqiang).
During the Qing Dynasty, "Kunqu" was referred to as the "Elegant Section." As Kunqu declined, new regional operas emerged, named after their localities, such as Sichuan's Chuanju, Xiangyang's Xiangju, Gongju, and Huiju These eventually came to be collectively known as "Peking Opera," which is sometimes interpreted as a form of theater originating from Beijing.
清代乾隆 55 年（1790），“徽”（称为“二黄”）和“秦”（称为“西皮”） 的两种行为结合在一起，称为“皮黄戏”。 “皮萤戏”行为在北京，它们受到北 京语音和声腔的影响，所以它们带有北京的特点、声音。因为他们常常来上海表演， 所以“皮萤戏”带北京的特点称为“京剧”。
3 中国“京剧”艺术的发展历史
3京剧-维基百科，自由的百科全书，is.gd/ogvoui
In the late 19th to early 20th century, Peking Opera emerged as the most prominent form of Chinese drama after decades of integration It boasts the largest number of performers, troupes, and audiences in China, highlighting its significant cultural impact The popularity of Peking Opera was particularly favored by aristocrats and royal family members, further solidifying its status in Chinese performing arts.
Peking Opera, known as "Jingju," has thrived due to the support of the nobility and royal families, which provided essential resources such as performances, costumes, makeup, and stage scenery The mutual influence between aristocratic theater and folk traditions has created a rich environment for the development of Peking Opera.
In the 1940s, Peking Opera experienced its second peak, marked by the emergence of numerous distinct schools The most renowned among these are the four major schools led by celebrated performers: Mei Lanfang (1894-1961), Shang Xiaoyun (1900-1975), Cheng Yanqiu (1904-1958), and Xun Huisheng (1900-1968) These actors captivated audiences in major cities like Shanghai and Beijing, contributing to the vibrant development of Peking Opera during this period Mei Lanfang's work gained recognition in Europe, leading to Peking Opera being regarded as a quintessential Chinese theatrical genre worldwide.
自从中国开始改革以来，“京剧”有了新的发展，作为民族传统艺术精髓，
The Chinese government strongly promotes Peking Opera, and today, the Chang'an Opera House hosts numerous performances of this traditional art form Additionally, international Peking Opera competitions attract fans from around the world, showcasing the global appeal of this cultural heritage.
Peking Opera serves as a vital medium for cultural exchange between China and the world, incorporating elements like acrobatics and rolling performances that are not traditionally found in Chinese martial arts However, Chinese martial arts have significantly influenced this art form, enriching China's cultural landscape Trained Peking Opera actors, such as Kwan Tak-hing, Jackie Chan, Bruce Lee, and Liu Xiaolingtong, often transitioned into martial arts roles in films, showcasing the opera's impact on modern Chinese and Hong Kong cinema Consequently, it is argued that Hong Kong's action films feature two types of martial arts: the authentic martial arts of skilled fighters and the stylized martial arts performed by Peking Opera actors.
II 越南“戏剧”艺术简介
1 越南“戏剧”艺术的概念
"Xia Ju" is a popular Vietnamese opera that originated from Chinese Peking opera and is also known as "Gu Ju" to distinguish it from other theatrical forms This genre differs from social reform and Huguang reform (ancient reform dramas), as it represents a modern and more popular form of theatrical performance.
2 越南“戏剧”艺术的出生历史
4Tuồng-Bách khoa toàn thư mở Wikipedia, https://vi.wikipedia.org/wiki/Tu%E1%BB%93ng
剧许多学者称，“戏剧”起源越南民族舞蹈。在过程发展中，“戏剧”接受
“京剧”的化妆、表演形式。在不确定的时间，“戏剧”流入到越南的。 5
According to legend, during the pre-Ly period in 1005, a Chinese performer named Liao Qu Xin captivated audiences with his popular singing in the Song Dynasty, gaining the favor of Emperor Ly Long Tinh.
中国“京剧”艺术与越南“戏剧”艺术的文化特色分析
越南“戏剧”艺术的剧情
"Drama" embodies grand narratives of loyalty to one's country, self-sacrifice for a greater cause, and the complexities of human behavior between the public and private spheres Aesthetic qualities of tragedy are also inherent in "drama." The themes often revolve around court life, reflecting not only events within the palace but also the political dynamics among various feudal factions.
The structure of the "drama" script is based on Eastern narrative traditions, ensuring that the story has a clear beginning and end while adhering to a chronological timeline This approach is similar to that of folk tales and ancient stories.
The cultural value of Peking Opera originates from ancient Chinese legends, rich in primitive colors and open folk concepts, while inheriting the brilliant achievements of the Ming and Qing novel stages As Peking Opera becomes more integrated into daily life, it increasingly represents China's popular aesthetics, fostering human connections and eliminating nonsense Similarly, drama in Vietnam reflects the realities of the old feudal society, clearly addressing the social hierarchy and the struggles for power, showcasing the aspirations of individuals.
表演的形式
a 中国“京剧”艺术
“京剧”表演艺术的主要形式是：“唱”（唱歌），“念”（口语），“做”
（做功），“打”（武术）。 12
The primary singing styles in Peking Opera are "Xipi" and "Erhuang." "Xipi," accompanied by the 63-string huqin, features lively, joyful, and strong melodies, making it ideal for expressing intense emotions such as happiness, determination, and anger In contrast, "Erhuang," paired with the 52-string huqin, offers softer, deeper, and more lyrical tones, suitable for conveying profound feelings of sadness and reflection.
In Peking Opera, the art of "nian" (spoken lines) complements and enhances singing, serving as a crucial means of expressing characters' thoughts and emotions Actors begin training from a young age, with nian being a fundamental skill Generally, nian can be divided into two main categories: rhythmic nian (yunbai) and free nian (sanbai), both of which are artistically refined forms of language that possess rhythm and musicality, harmonizing beautifully with the singing.
In Peking Opera, "doing" or "performing skills" refers to the unique techniques that distinguish this art form from others Actors employ a variety of stylized movements with their hands, eyes, body, and steps while creating their characters Additionally, they utilize diverse techniques with props such as beards, feathers, hair, and flowing sleeves, showcasing a flexible use of these choreographed expressions.
12京剧的四大表演形式-百度知道，is.gd/t80LNX
13 京剧的四大表演形式-百度知道，is.gd/t80LNX
14 京剧的四大表演形式-百度知道，is.gd/t80LNX
To effectively highlight the characteristics of a character's personality, age, and identity, it is essential to create a compelling artistic representation Here are 15 examples that demonstrate how to successfully shape such artistic images.
(1) 女性角色走路时，脚跟必须始终着地。
The role of officials requires them to walk with elevated feet, adopting a "square step" style Additionally, they must maintain specific postures while seated in a chair.
(3) 老人角色或彪悍的男生角色，前排座位只有一半，实际上是半站立，半坐。
"Da" in martial arts represents the fourth performance form in Peking Opera, serving as a vital component of its physical expression It embodies the dance-like qualities of traditional martial arts and is a refined artistic portrayal of combat scenes from everyday life This performance style is generally categorized into two main types: "bazi gong" and "tanzi gong." Mastery of these intricate techniques is essential, as performers must skillfully convey the characters' spirit and emotional essence Weapons such as swords, spears, and jacks, often utilized in the performance, exhibit remarkable speed and are synchronized with drum rhythms Additionally, Peking Opera actors project their voices powerfully, ensuring that the audience can clearly hear every word.
“戏剧”将唱、念、做、打的要素融为一体，但其中跟“京剧”也有区别。
Singing techniques can be categorized into three main types: Northern singing, Southern singing, and additional songs Southern singing typically features lyrics written in conventional rhythmic forms, such as six-eight and double seven-six-eight poetry, including five tones In contrast, Northern singing incorporates literary elements from poetry and prose, utilizing various styles like Zuo Ma Diao, Yin Yong, and Bai Diao Additionally, certain extra songs play a crucial role in performances by specific characters.
In drama, the spoken lines, known as "念白," often utilize rhymed phrases or characters, encompassing four main types: slow and stern dialogue for naming conversations, expressions of sorrow during separation scenes, outbursts of anger or frustration, and prose statements These prose elements serve to enhance the narrative by seamlessly connecting rhymed sentences while adding supplementary meaning to the performance.
15 京剧的四大表演形式-百度知道，is.gd/t80LNX
16京剧的四大表演形式-百度知道，is.gd/t80LNX
17http://truongcakichvien.com/hat-boi-va-kinh-kich-nhung-diem-giong-va-khac-nhau/
18 http://truongcakichvien.com/hat-boi-va-kinh-kich-nhung-diem-giong-va-khac-nhau/
The concept of "doing" encompasses various actions such as using the eyes, hands, legs, riding a horse, stroking a beard, and performing elaborate gestures Each movement adheres to specific guidelines, with every action intentionally conveying distinct emotions and thoughts.
In martial arts theater, actors must learn various weapon techniques and remember intricate movements The performances on stage are symbolic, showcasing the joyful clash of two weapons Additionally, the art of drama involves challenging skills, such as executing aerial rolls and shield strikes.
Additionally, actors in "drama" often sing using their own voices, which convey a warm and gentle tone This approach allows the audience to connect more deeply with the performance, enhancing their overall experience.
Cultural values are embodied through the integration of elements such as singing, acting, reciting, and performing, which authentically and cohesively portray individual identities and societal realities The performance style of Peking Opera demands high aesthetic standards, showcasing graceful and intricate movements that transport audiences into a mesmerizing world of dance.
The performance techniques of "drama" are shaped by everyday social interactions and psychological behaviors It incorporates the essence of folk performances, beliefs, religions, court traditions, and ethnic martial arts, creating a structured choreography that evolves from simplicity to complexity.
乐团
a 中国“京剧”艺术的乐团
“京剧”中的乐团分为“文场”和“武场”。
The "Wenchang" is the orchestral ensemble that accompanies Peking opera, with the lead musician, known as the "mastermind," playing a crucial role This ensemble features a variety of instruments, including the Jinghu (a type of Huqin), Jing Erhu, Yueqin, Xianzi (a small sanxian), flute, sheng, suona, haidi (a small trumpet), and yunluo (a type of gong known for its clear sound), all of which contribute to the rich musical landscape of Peking opera.
The "Wu Chang" is the percussion ensemble in Peking Opera, with the drummer being its "soul." This ensemble primarily consists of four instruments: the gu ban (which actually refers to two instruments, the tanban and the single-skinned drum, played by one person), the big gong, the cymbals, and the small gong.
19http://truongcakichvien.com/hat-boi-va-kinh-kich-nhung-diem-giong-va-khac-nhau/
20 http://truongcakichvien.com/hat-boi-va-kinh-kich-nhung-diem-giong-va-khac-nhau/
21详细介绍京剧乐队里的各种乐器-个人图书馆，is.gd/MUJ2dH
22 详细介绍京剧乐队里的各种乐器-个人图书馆，is.gd/MUJ2dH
When performing Peking Opera, it is essential to synchronize the use of drums and clappers with the music and the actors' movements This coordination is crucial for adjusting the rhythm and providing the appropriate background for the performers' singing or dialogue.
Instrumental music can vividly replicate the sounds of everyday life, such as the early darkness, wind, crowing roosters, and thunder The diverse and clear sounds produced by a Peking Opera orchestra energize the audience, evoking feelings of vitality and lightness Similarly, the orchestras in Vietnamese "theater" art contribute to this dynamic auditory experience.
“戏剧”中的乐团包括：战鼓，铜锣，笛子，二胡。乐团位于舞台的右侧
（从里到外）。右手对应“生”，左手对应“死”。 23
The complex sounds of the "drama" orchestra vividly illustrate each scene in the play The continuous beat of the drums signifies the strength and loyalty of the characters, while the flute's melody conveys their sorrow and complaints, deeply affecting the audience's emotions.
In traditional Chinese opera, specifically in Peking Opera, the orchestra can be categorized into two distinct systems, showcasing a rich diversity The musical ensemble within the opera is infused with a range of emotions, reflecting both joy and sorrow.
The primary musical ensemble in drama features drums and flutes, which, despite being imported from China, have gradually established their own distinct cultural sound.
3 角色类型 a 中国“京剧”艺术的角色
The classification of roles in "Peking Opera," known as "xingdang," is based on various factors such as the character's gender, age, status, and personality These roles are primarily divided into four main categories: Sheng (male), Dan (female), Jing (painted face), and Chou (clown).
“京剧”中的男性角色称为“生”，分为：老生，小生，武生，红生。
The "Laosheng" character in Peking Opera represents older male figures, including emperors and refined scholars Typically portrayed with a beard, Laosheng roles embody integrity and righteousness, often serving as positive, upright characters in the performances.
(2)小生：是“京剧”中生角的一种，主要扮演年青英俊的男性角色。 25
23http://truongcakichvien.com/hat-boi-va-kinh-kich-nhung-diem-giong-va-khac-nhau/
24京剧角色-百度文库，is.gd/Pra1a6
25 京剧角色-百度文库，is.gd/Pra1a6
Wusheng is a character in Peking Opera known for martial arts, divided into two types: the general Wusheng, who wears armor and uses long weapons, must demonstrate the elegance of martial arts and embody the composure and demeanor of a general, showcasing heroic qualities; while the soldier Wusheng, often using smaller weapons, focuses on agility and bravery in their performance.
In the play, the roles of children are categorized into several main types Aside from the red-faced and painted face (known as "gou lian") performers, most characters in the "sheng" category are portrayed with a clean and handsome appearance, typically featuring unpainted faces.
“京剧”中的女性角色称为“旦”，分为：老旦，花旦，武旦，青衣，彩旦， 花衫，刀马旦。 28
The "Lao Dan" character represents elderly female roles in traditional performance When speaking, they use their natural voices, while their singing resembles that of male "Lao Sheng" characters, infused with a distinct elegance that reflects their femininity.
(2) 花旦：是嘴尖、刚健、狂放的女性角色。
(3)武旦：指了解武术、做侠义的事、正常在神话中表演武器的女性角色。
(4) 青衣：端庄娴雅的女子。
(5) 彩旦：滑稽诙谐的喜剧性人物。
(6) 花衫：熔青衣、花旦、武旦、刀马旦于一炉的全才演员称为花衫等。
The term "Dao Ma Dan" refers to female characters who don armor and wield weapons Their performances are characterized by a blend of bravery and grace, showcasing both combat skills and elegance.
另外，“京剧”中还有丑陋、幽默的人物，称为“丑”，分为三类：文丑， 武丑，小丑。 29
(1)文丑：扮演性格滑稽的人物，以念白、做工为主。
In traditional Chinese performance arts, the role of Wu Chou, also known as "Kai Kou Tiao," portrays characters with martial skills but lacking distinctive personalities, focusing primarily on martial prowess Conversely, the role of the Xiao Chou represents the comedic clown in Peking Opera or acrobatics, characterized by their humorous and light-hearted antics, often serving as a metaphor for individuals who act in a playful and engaging manner.
26京剧角色-百度文库，is.gd/Pra1a6
27 京剧角色-百度文库，is.gd/Pra1a6
28 京剧角色-百度文库，is.gd/Pra1a6
29 京剧角色-百度文库，is.gd/Pra1a6
The character system in "Peking Opera" is highly intricate, allowing audiences to easily identify each character, their personality, and their social status This reflects a unique aspect of Chinese culture, as performers use these portrayals to convey traditional values and historical narratives Similarly, the character roles in Vietnamese "theater" art also play a crucial role in expressing cultural identity and storytelling.
画脸艺术
a 中国“京剧”艺术：脸谱
In Peking Opera, most characters wear painted faces, with male roles being particularly distinctive These male characters are often referred to as "Jing" or "Hua Lian." The "Chou" roles, known for their comedic elements, typically feature a white mark on their noses, referred to as "Xiao Hua Lian" or "San Hua Lian." Actors use a variety of colors and patterns on their faces to convey the appearance and personality traits of their characters.
脸上涂的颜色显示了角色的个性和美德。 33 包括：
Red typically symbolizes loyalty and bravery, often representing positive characters However, it can also carry a sarcastic connotation, indicating a façade of kindness.
Black typically symbolizes integrity, selflessness, and an upright character It also represents the yin aspect in the yin-yang balance, often associated with ghosts Additionally, it can denote darker skin tones or unattractive appearances.
The color white typically symbolizes insidiousness, deceit, and a formidable presence, often associated with characters that are stern and imposing Additionally, it is linked to the roles of monks and eunuchs in traditional narratives, as well as representing the elderly and their wisdom.
(4)紫色一般表现刚正，稳练，沉着的人物；其他是面色不好，丑陋。
(5)黄色代表枭勇，凶猛的人物。
(6)金色代表神、佛陀；其他：猛将。
(7)绿色一般代表顽强，暴躁的人物形象，其他是绿林好汉。
(8)蓝色表现刚强，骁勇，有心计的人物性格。
Peking Opera face painting is a unique makeup technique that embodies distinct aspects of Chinese culture Each historical figure or character type is represented by a specific design, akin to how music is performed according to a score This is why it is referred to as "face patterns," meaning "various styles of painted faces." In Peking Opera, there are over a hundred different face painting methods.
33京剧脸谱（京剧演员面部化妆图案）-百度百科，is.gd/xvguzz
34 京剧脸谱（京剧演员面部化妆图案）-百度百科，is.gd/xvguzz
(1)张飞的角色在额头上画一个桃子的形状，象征三兄弟宣誓桃园；
(2)庞德的角色在额头上画一只螃蟹，表示跋扈的性格；
(3)周仓的角色，脸颊经常化出鱼尾鳞，代表生活在河上的人物；
(4)关羽、赵匡胤的角色经常画长长的白眉毛，表示威严的样子。
However, facial masks are not set in stone; they can vary based on the specific play being performed, the age of the character, and the actor's facial features.
In the realm of costume design, fake beards consistently captivate audiences, with their colors—black, white, and gray—symbolizing the age of the characters The hue of a fake beard reflects the emotions and personalities of the characters portrayed Additionally, characters with impulsive or eccentric traits often don vibrant fake beards in colors like red, purple, and blue, adding a unique flair to their appearance, especially in Vietnamese theatrical art.
The "face mask" is a crucial stage prop in drama, symbolizing the essence and soul of the performance while leaving a lasting impression on the audience On stage, the mask must be bold with clear lines to effectively portray the character's personality and enhance the actor's facial expressions This allows the audience to grasp the character's mindset, personality, and social status as the actor takes the stage.
脸谱的颜色代表角色的个性。 36
(1) 红色：代表英雄、义气、中间的人。
(2)葱白，灰色，蜡白：代表邪恶、卑鄙、危险的人。
(3)各种颜色混合在一起代表恶魔、妖怪。
脸谱各部分的形状也很重要，例如眉毛，额头也可以表示角色的性格。
In drama, beards serve various purposes and symbolize different character traits For instance, protagonists often sport long black beards, while elderly characters typically wear long white beards Additionally, a fox-like beard is associated with cunning and mischievous individuals.
Cultural values are reflected in both Beijing opera and traditional theater through the use of color to define character personalities However, there are notable differences in their layouts and facial painting techniques Beijing opera features a more vibrant and diverse palette of facial makeup compared to traditional theater.
35http://truongcakichvien.com/hat-boi-va-kinh-kich-nhung-diem-giong-va-khac-nhau/
36http://truongcakichvien.com/hat-boi-va-kinh-kich-nhung-diem-giong-va-khac-nhau/
服装
a 中国“京剧”艺术的服装
The stage costumes in "Peking Opera" are primarily styled after the Ming Dynasty, transcending distinctions of space, time, and ethnicity.
“京剧”服装主要取决于角色的身份、职业和性别。比如：
Emperors and nobles traditionally wore dragon robes, characterized by loose-fitting designs Men's dragon robes often featured embroidered dragons and were designed to be longer, while women's versions were shorter, typically not exceeding knee length, and could include embroidered dragons or phoenixes.
(2)文官的服装：正面和背面有锈麒麟、褐马鸡等的动物方形刺绣。
(3)武官的服装：绒衣盔甲，背面有四个彩旗。
The costumes in "Peking Opera" feature wide sleeves adorned with white silk at the wrists These sleeves play a significant role in conveying the characters' emotions, such as tension, anger, sadness, and joy, through their movements.
In Beijing opera, character headwear is significant, with the "Nine Dragon Hat" designated for emperors, while noblewomen wear phoenix hats Military generals don various helmets, civil officials sport silk hats, and commoners typically wear straw hats or cloth caps.
In Peking Opera, male characters typically wear thick-soled boots, while female characters often don flat embroidered shoes Additionally, the costumes in Vietnamese theatrical arts showcase a rich diversity, reflecting cultural heritage and artistic expression.
The costumes in drama encompass various elements such as hats, coats, dresses, scarves, headpieces, belts, and boots These theatrical outfits reflect the historical context of each scenario depicted in the performance.
“戏剧”人物的衣服：
(1)皇帝穿着带有五爪龙刺绣的黄色龙袍。
(2)老武官穿着红色的蟒袍，代表中正的人。
(3)太师穿着紫色的蟒袍；佞臣穿着黑色的蟒袍。
(4)另外，还具有将军的铠甲、妃嫔的宫妆等的衣服。
带子：皇帝用黄色的带子，官用红色或蓝色的带子。
In the realm of "drama," hats play a significant role in defining characters For instance, the emperor is adorned with a dragon-emblazoned hat, while the princess wears a phoenix-decorated headpiece, and the generals don armor when heading into battle.
靴子也是一种鞋形式，用于“戏剧”艺术中的男性角色。
Cultural value is evident in how both "Peking Opera" and "theater" use color to define character personalities, highlighting the importance of costumes Due to shared cultural traits, both countries exhibit similarities in their attire Today, both nations are gradually affirming their unique characteristics in clothing.
5 舞台艺术 a 中国“京剧”艺术
The stage of "Peking Opera" is characterized by a conventional format, distinct from other Eastern art forms This means that the stage cannot be infinitely extended, prompting a redefinition of its significance For instance, even though the stage remains brightly lit at night, two characters can stand face to face without seeing each other.
This approach enables a fresh perspective on subjects, creating new meanings The conventional form evokes distinct emotions; even if the audience isn't visibly crying or laughing, these feelings are elevated, wiser, and possess a higher aesthetic quality that is profoundly intense This is particularly evident in Vietnamese "theater" art.
The form of "drama" is a regulated expression where performance amplifies emotions beyond reality, allowing the audience to truly feel Subtle movements can convey rapidity, and when actors take the stage, emphasis becomes crucial for audience engagement The style of walking also reflects a character's inner thoughts In situations where sound and lighting technology fall short in performing arts, increasing the intensity of actions helps the audience grasp the entire scene, ensuring visibility regardless of their seating distance.
“戏剧”使越南独特的古典舞台艺术形式。在宫廷和民间的文化生活中，
“戏剧”占有重要地位。
Cultural value is a crucial aspect of the stage, where authenticity is paramount, allowing for honest expression at all times It encompasses both material and immaterial details that respond to various situations and roles, enriching the overall experience of performance.
III 在现代人生活中的中国“京剧”艺术与越南“戏剧”艺术
Due to the rich historical significance of both "Peking Opera" and "theater" as traditional art forms in China and Vietnam, many young people remain unaware of these cultural treasures.
In modern life, both forms of art continue to be cherished by adults and seniors alike.
In China, the preservation of Peking Opera has become a popular topic, prompting many young artists to incorporate this traditional art form into modern performances, thereby contributing to its promotion on a global scale.