| 词条 | Chou role |
| 释义 |
The Chou is the clown role in Chinese opera. The {{transl|zh|Chou}} usually plays secondary roles in a troupe.[1] Peking operaMost studies of Peking opera classify the {{transl|zh|Chou}} as a minor role. {{transl|zh|Chou}} roles can be divided into {{transl|zh|Wen Chou}} (文丑), civilian roles such as merchants and jailers, and {{transl|zh|Wu Chou}} (武丑), minor military roles. The {{transl|zh|Wu Chou}} is one of the most demanding in Peking opera, because of its combination of comic acting, acrobatics, and a strong voice. {{transl|zh|Chou}} characters are generally amusing and likable, if a bit foolish. Their costumes range from simple for characters of lower status to elaborate, perhaps overly so, for high status characters. {{transl|zh|Chou}} characters wear special face paint, called {{transl|zh|xiaohualian}}, that differs from that of {{transl|zh|Jing}} characters. The defining characteristic of this type of face paint is a small patch of white chalk around the nose. This can represent either a mean and secretive nature or a quick wit. Originally, there were five roles in Beijing opera, but the last role "Mo" became a part of "Chou".[2] Beneath the whimsical persona of the {{transl|zh|Chou}}, a serious connection to the form of Peking opera exists. The {{transl|zh|Chou}} is the character most connected to the {{transl|zh|guban}}, the drums and clapper commonly used for musical accompaniment during performances. The {{transl|zh|Chou}} actor often uses the {{transl|zh|guban}} in solo performance, especially when performing {{transl|zh|Shu Ban}}, light-hearted verses spoken for comedic effect. The clown is also connected to the small gong and cymbals, percussion instruments that symbolize the lower classes and the raucous atmosphere inspired by the role. Although {{transl|zh|Chou}} characters do not sing frequently, their arias feature large amounts of improvisation. This is considered a license of the role, and the orchestra will accompany the {{transl|zh|Chou}} actor even as he bursts into an unscripted folk song. However, due to the standardization of Peking opera and political pressure from government authorities, {{transl|zh|Chou}} improvisation has lessened in recent years. The {{transl|zh|Chou}} has a vocal timbre that is distinct from other characters, as the character will often speak in the common Beijing dialect, as opposed to the more formal dialects of other characters.[3] References1. ^{{cite book|last=Wichmann|first=Elizabeth|title=Listening to Theatre: The Aural Dimension of Beijing Opera|publisher=University of Hawaii Press|page=12}} 2. ^{{Cite web|url=http://china.tyfo.com/int/ent/opera/peking/peking-index.htm|title=Peking Opera|year=2000|publisher=It's China Network - TYFO.COM|author=Unknown Author|archiveurl=https://web.archive.org/web/20070607182457/http://china.tyfo.com/int/ent/opera/peking/peking-index.htm|archivedate=June 7, 2007}} 3. ^{{cite journal|last=Thorpe|first=Ashley|pages=269–292|title=Only Joking? The Relationship between the Clown and Percussion in "Jingju"|journal=Asian Theatre Journal|volume=22|number=2|year=2005|jstor=4137134|subscription=yes}} Further reading
3 : Chinese opera|Stock characters|Clowns |
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