The Tang Xianzu Memorial Hall in Fuzhou is a comprehensive cultural venue built to commemorate Tang Xianzu, one of the world’s hundred great cultural figures and a master of Ming‑dynasty drama in China. It is also one of Jiangxi Province’s ten major memorial halls dedicated to historical luminaries.
Opera Trivia | Singing Opera Depends Entirely on Vital Energy and Spirit—Techniques for Retaining Breath, Changing Breath, Stealing Breath, and Raising Breath
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2022-12-22
There’s a common saying in the world of Chinese opera: “Performing opera depends entirely on one’s spirit and energy.” Among these, qi—vital energy—is especially crucial for singing and recitation; as the saying goes, “qi is the source of sound.” It’s like the wind blowing against a window paper in winter: the stronger the wind, the louder the sound; the weaker the wind, the softer it becomes. The human voice operates on the same principle. For an actor to have a good voice, they must have ample qi—only with sufficient qi can the vocal cavity produce a sweet, resonant tone. To maintain robust qi, one needs a healthy body; this is the fundamental prerequisite. Beyond that, one must also master techniques such as conserving qi, changing breath, stealing breath, and lifting qi.
Today, let’s talk about these methods of using gas.
Today, let’s talk about these methods of using gas.
Store gas
That is, throughout the recitation, one should always maintain an ample reserve of breath within the body. In particular, one should learn to use the abdomen to assist the chest in storing breath—what the old saying calls “dantian qi.” The specific requirement is not to exhaust all the air in the belly during the recitation; a portion must be left behind, so as to ensure both a resonant voice and clear, well‑articulated syllables. If all the breath in the belly is used up, the resulting sound will lack power and be unpleasant to the ear. Moreover, it is precisely during the process of conserving breath that “air leakage” is most likely to occur; improper technique can cause the breath to be wasted needlessly. As a time‑honored principle in the world of Chinese opera goes: “Release the voice without releasing the breath, and you will never tire.” In other words, when releasing breath, it must be directed into the voice; one must not let it escape in vain.
Ventilation
Breathing, or “changing the breath,” refers to replenishing the air consumed during singing and recitation. For example, when we recite, “Pan Hong, I will expose you as a traitorous villain!” after finishing “Pan Hong,” we should immediately take a breath, then continue with “I will expose you as a traitorous,” followed by another breath before uttering the two words “villain.” Only by promptly restoring the lost breath can the spoken lines sound clear, resonant, and powerful. If one tries to deliver a long sentence in a single, uninterrupted breath, it not only lacks vigor but also risks straining the voice and causing hoarseness. “Changing the breath” is sometimes called “slowing the breath”; here, “slowing” means restoring—restoring the original state of ample, full breath.
Stealing air
Stealing air It is another technique for managing breath. It is often employed in urgent lines, where the so‑called “steal” means ensuring the audience does not detect that you are taking a breath. For example, in the line “A man as disloyal, unfilial, unkind, and unjust as you—today he has fallen into this Imperial Censor’s hands; how could I possibly tolerate it? Strike!” (from Kou Zhun’s spoken part in “The Trial of Pan Hong”), after uttering “A man as disloyal…,” one should immediately steal a quick breath; then, upon reaching “unfilial, unfilial, unkind, and unjust,” another brief inhalation; next, when saying “today he has fallen into this Imperial Censor’s hands,” yet another quick breath; followed by “how could I possibly tolerate it?”—and finally, a last breath before delivering “Strike.” The breath is replenished as needed, always maintaining a full reserve. Only in this way can the dialogue be rendered with clear diction, resonant force, and a tight yet orderly rhythm, thereby conveying Kou Zhun’s sense of justice, decisiveness, and bitter hatred toward Pan Hong. (Note: the “steal” should involve drawing only half a breath, not a deep inhalation.)
Gathering energy
“Ti qi,” or “raising the breath,” refers to the act of drawing in a full lungful of air and then mastering its control, exhaling precisely the amount one intends. In Chinese opera, spoken lines vary in length, pitch, tone, and tempo—fast or slow, light or heavy—depending on the content and emotional nuance. Consequently, the manner of employing breath—its volume and speed—also differs from line to line. For example, in the line “Pan Hong, I shall expose you as a traitorous villain,” the two syllables “Pan Hong” must be delivered swiftly and decisively, demanding a robust, well‑filled breath that is released in an instant. By contrast, the final character “zei” is sustained in a firm, crisp, and resonant long note, which calls for a full, steady supply of breath maintained over a longer span and released evenly. “Ti qi” means adjusting one’s breath according to the intended loudness and duration of each phrase: whatever amount of air is needed is exhaled accordingly. Only in this way can the voice achieve proper gradation of weight and clarity, with distinct pauses and emphases. “Ti qi” is also known as “yun qi,” or “regulating and directing the breath.”
Cheer up
“Blowing air,” or what is known as “daqi,” refers to expelling one’s breath with sudden, forceful speed. This technique is often employed in certain special spoken passages within Chinese opera. For example, when a character, in a state of panic and confusion, delivers the line, “Dai—dai—dai—mount the horse!” the word “dai” must be pronounced with a strong burst of air that drives the voice.
The vocal cords—this is what we call “breathing in.” Likewise, the throat-clearing sound a sheng actor makes before stepping onto the stage, as well as the various “laughs” characteristic of this role type, are all produced by using a relatively strong stream of breath to set the vocal cords vibrating.
The vocal cords—this is what we call “breathing in.” Likewise, the throat-clearing sound a sheng actor makes before stepping onto the stage, as well as the various “laughs” characteristic of this role type, are all produced by using a relatively strong stream of breath to set the vocal cords vibrating.
Singing opera is an art form.
We need to constantly
Go learn, go practice, go experience.
When the qi opening is used well
The actor delivers it smoothly.
The audience enjoyed it immensely.
Lacking sufficient breath control and breathing techniques.
Then it would be impossible to deliver one’s lines properly or sing with proper vocal technique.
So as long as you master the right approach,
I believe everyone can put on a great performance!
We need to constantly
Go learn, go practice, go experience.
When the qi opening is used well
The actor delivers it smoothly.
The audience enjoyed it immensely.
Lacking sufficient breath control and breathing techniques.
Then it would be impossible to deliver one’s lines properly or sing with proper vocal technique.
So as long as you master the right approach,
I believe everyone can put on a great performance!
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