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 | Twelve Types of Postures in Mei Lanfang’s Dan-Role Performances
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2022-12-31
Mei Lanfang’s art has been briefly outlined in the preceding chapter, yet this sketch captures only the general outline and falls far short of doing it justice. For no matter what kind of singing one seeks to describe, even a musical score cannot fully convey its subtlety; such beauty can only be apprehended through the ear. To attempt to render it in words alone would prove futile, so there is little need to dwell on minutiae. This chapter will offer a more detailed exposition of his various gestures and postures, illustrated with photographs to facilitate understanding; nevertheless, these still amount to nothing more than a broad overview. As for whether his movements are vigorous or graceful, angular or rounded, and whether they precisely accord with the rhythm and melody—such nuances can scarcely be captured by a single photograph or even a few still images; indeed, only moving pictures could do them full justice. Thus, this chapter confines itself to a brief presentation of his established poses and stances.
The organizational principles of Chinese opera stipulate that, beyond the specific conventions governing each role type, even within a single role category, variations in costume give rise to distinct movements and postures. These are briefly outlined as follows:
- Seated -
Wearing the python: The body should be slightly askew; never sit upright. Keep the back straight, with the torso leaning forward slightly. Place the left hand on the right side of the abdomen, and rest the right hand over the left. Slightly flare the elbows outward, keep the legs close together, and position the feet slightly behind the knees—either with one toe pressed firmly against the sole of the other foot, or with one foot resting diagonally behind the other.
Wearing the pèi: It is broadly similar to the mǎng, except that the elbows should be slightly drawn in, and the feet must be kept close together, one in front of the other.
Wearing the pleated skirt: In general, it is similar to wearing the dragon‑patterned robe, though the silhouette is slightly more streamlined. The waist should be somewhat supple, with both elbows pressed close to the hips; the feet must also be kept firmly aligned, one in front of the other. Occasionally, the feet may be extended slightly forward, but the tips of the toes must lift the hem of the skirt, for women are not permitted to expose their feet.
Wearing the attire: the body should be kept fairly upright, but not overly so; the waist must remain straight, with both hands occasionally pressing along the groin area. The shoulders should also be rounded, the elbows slightly flared outward, and both legs kept firmly together.
- Vertical -
Wearing the python costume: The body must be slightly askew, forming an angle of roughly ten degrees with the stage’s axis—this applies when standing upright. If one stands facing another, or in a sideways or turned‑away stance, this rule does not apply. The right hand rests on the right side of the abdomen, positioned slightly to the right of the left hand, with both elbows flared outward. The reason for this outward flare is that the python costume invariably includes a jade belt; if the elbows were pressed close to the body, they would become part of the belt, resulting in a lack of graceful posture and an unattractive appearance. In martial‑style performances involving the python, the right hand should always hold the belt firmly, the legs kept tightly together, with the tip of one foot resting against the sole of the other; under no circumstances should the feet be placed flat side by side. Wearing the pèi: The body may be slightly tilted, forming an angle of about twenty degrees with the stage. The hands remain in the same position as when wearing a mǎng, but slightly lower, with the elbows drawn in slightly. At times, the heels can be used to lift the skirt backward, or the toes to lift it forward, creating a rippling effect in the pose. This is done because the pèi hangs rather straight; if the skirt were also perfectly vertical, the overall silhouette would appear overly rigid. By using the feet to extend the skirt either forward or backward, the posture achieves a more natural, undulating quality.
Wearing the pleated skirt: The body’s orientation is the same as when wearing the shawl; however, the elbows must be held tightly against the torso, and the hands should be slightly raised. The feet should be positioned one in front of the other, with the heels closely together; occasionally, the heel of the rear foot may be used to gently lift the skirt, which enhances the overall aesthetic.
- Horizontal -
- Wang Style -
Do not look straight ahead; the head must be slightly lowered, the face turned slightly to one side, and the eyelids raised just enough to assume the “looking” posture. When looking, lift the sleeve with one hand, raising it high above the head, while the other hand rests at the waist, tilted slightly backward, with the back of the hand facing inward. The waist should be gently twisted and bent, and a stepping motion is required: if raising the right hand, step forward with the right foot; if raising the left hand, step forward with the left foot.
- Finger-type -
As mentioned in Chapter One, no further elaboration is needed. (The “pointing” gesture is the most common; the remaining ones have already been discussed in detail in the “National Opera Posture Manual,” so please refer to it. Here we present only one example: for instance, when using the right hand to point to the left, first raise the right hand to chest level, palm facing down; then sweep it upward from left to right, bringing it roughly level with the nose; next, continue the sweep to the right, extending about a foot away from the body; finally, bring the hand back to the left to complete the gesture. The pointing hand should be positioned approximately at the left side of the waist, and the gaze should follow the movement of the hand. If this is a dan‑style step, the footwork must also be synchronized with the gesture.) Why must the hand trace such a sweeping arc? First, it creates a graceful curve; second, it provides clear cues for the percussion; and third, it avoids overly realistic depiction.
- Si Shi -
The head is slightly lowered and tilted; one hand rests lightly on the temple with the middle finger, while the elbow presses firmly against the waist. The supporting hand gently cradles the elbow of the cheek‑touching hand; the eyelids are slightly turned upward, and the legs are kept tightly together. This description applies to performers wearing garments with water sleeves; if no water sleeves are worn, the elbow of the cheek‑touching hand may be extended slightly outward, the back of the supporting hand rests on the waist, the elbow is also turned outward, the torso is slightly bent, the legs are slightly flexed, and the feet remain in a stepping stance.
- Shy Style -
Turn the head slightly to the side and cover it with one sleeve, ensuring that the arm remains vertical; the other hand rests at the waist, and the legs are kept close together. The above instructions apply to garments worn with water sleeves; if no water sleeves are present, the covering arm must be held horizontally, while the other hand may be placed behind the back at the waist.
The foregoing pertains to the body’s posture when holding nothing; only a few examples have been briefly cited. As for other expressions—such as laughter, tears, anger, and sorrow—each likewise has its prescribed form, so there is no need for further elaboration.
The foregoing pertains to the body’s posture when holding nothing; only a few examples have been briefly cited. As for other expressions—such as laughter, tears, anger, and sorrow—each likewise has its prescribed form, so there is no need for further elaboration.
- Object-based -
When handling objects such as a tea tray or an incense burner, one generally uses the left hand: the thumb presses against the rim of the tray, the little finger is slightly raised, and the remaining three fingers provide support. The middle finger must bear most of the weight, with the wrist turned backward; the tray should be held about a foot above the face, roughly level with the forehead. The right hand rests on the left side of the waist, slightly lower, since the left hand is held horizontally while the right hand remains more upright. If wearing clothing without water sleeves, the right hand may be placed at the waist, palm facing outward, while the hand supporting the tray is positioned slightly forward, the body leaning slightly forward, and the chin aligned in a straight line with the left wrist. At the same time, a step should be taken.
- Item-pulling type -
When carrying items such as baskets or packages, one typically uses the left hand; the hand’s position—its distance and orientation—is much the same as when supporting an object, except that it should be held lower. The middle finger supports the basket’s handle, while the tip of the thumb applies a gentle press. The hand is positioned roughly at breast height, with the right hand resting slightly to the left of the abdomen, also kept somewhat lower. The body leans forward, and one foot may be placed slightly ahead to allow the other heel to lift the skirt. If wearing clothing without sleeves, the right hand can be crossed at the waist, with the elbow slightly flared outward, while the hand holding the basket remains gently closed, forming a posture in which the two arms are aligned—one vertical, the other horizontal.
- Moving-type -
When moving objects, there are not many items to carry—only a few types of chairs. When lifting a chair, position it slightly off-center, keeping your body facing away from the chair. The seat should be level with your waist or slightly higher; never let it be too low, and under no circumstances should you lift it from the front.
- Object-holding type -
There are two types of object‑holding postures: one is the single‑hand hold, as when grasping a command token or a sword and spear; the other is the double‑hand hold, which corresponds to what the texts call “pěng,” such as with a food box or a makeup box. In the single‑hand hold, the left hand is used: the grip is on the hilt of the sword or spear, with the palm turned from inward to outward, and the knuckles pressed against the waist. The shoulders should be rounded. If the right hand holds a whip, it must be raised high above the head, with the tip slightly inclined—neither perfectly straight nor held level in front—but it may also be held at chest height or even higher.
- Offering style -
To hold an object with both hands, one must position it on the left side of the waist; the left hand grasps the outer edge of the item, while the right hand holds its inner side. The entire front of the body should be kept clear, with the torso leaning slightly forward and tilting slightly to the left, thereby emphasizing the weight of the object. The foregoing pertains to those who hold objects in their hands; only a few examples have been cited, but the remaining cases can be inferred by analogy.
Source: Liyuan Magazine, “A Glimpse of Mei Lanfang’s Art” Submissions welcome: 363036353@qq.com
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