Beijing Opera combines music, acrobatic dance, and spectacular costumes to tell stories from Chinese history and folklore. Using abstract, symbolic gestures rich in dramatic meaning, actors represent personages from the heroic, divine, and animal worlds, often in martial exploits. The traditional features of the masklike makeup and elaborate costumes immediately identify the characters to a knowing audience.
Four Famous Dan Actors 四大名旦
Stage Props in Peking Opera 京剧道具
Types of Facial Make-up in Beijing Opera 京剧脸谱
Roles in Beijing Opera 京剧的角
Xipi and Erhuang 西皮和二簧
Wenchang and Wuchang 文场和武场
Piao You and Xia Hai 票友和下海
Longtao and Figurant "龙套”和 “跑龙套”
Qiba “起霸”
Liangxiang “亮相”
    京剧脸谱（Beijing opera types of facial makeup in operas）
简介(Introduction)：
Beijing opera types of facial makeup in operas, is a special feature of a national cosmetic. As each historical figure or a certain type of person has an approximate spectral type, like sing, play music to the music, so called “types of facial makeup in operas”. On the types of facial makeup in operas sources, the general view is from mask.
clothes中文Beijing opera types of facial makeup in operas are based on certain personality, temperament or some special types of figures for the use of certain colors. Red has expressed his Warriors of strong types of facial makeup in operas such as Guan Yu, concu
bines Victoria, regular book; Black said the types of facial makeup in operas ming criticized people, integrity, bravery and even reckless, such as Zheng and Zhang Fei, Li; Yellow types of facial makeup in operas that vicious brutality, such as Yu Chengdu, and Dian Wei. Blue or green types of facial makeup in operas that some of the figures represented irritable, such as Dou Ambassador, Ma Wu; General treacherous court official said the types of facial makeup in operas white, bad guys, such as Cao Cao, Zhao higher.
Beijing opera types of facial makeup in operas of color painting methods, basically divided into three categories : rub face, face towel, different faces. Types of facial makeup in operas initial role is exaggerated her role with striking places and face the veins, using exaggerated by the performance of dramatis personae of personality, psychological and physiological characteristics, and using this to the entire drama circumstances, but Later types of facial makeup in operas by Kan to complex, from rough to the small, Youbiaojili, from shallow to deep, itself becoming a nation of characteristics, to the facial expression means for the pictorial arts.
中文对照:)~
京剧脸谱，是具有民族特的一种特殊的化妆方法。由于每个历史人物或某一种类型的人物都有一种大概的谱式，就像唱歌、奏乐都要按照乐谱一样，所以称为“脸谱”。关于脸谱的来源，一般的说法是来自假面具。
京剧脸谱，是根据某种性格、性情或某种特殊类型的人物为采用某些彩的。红有脸谱表示忠勇士义烈，如关羽、姜维、常遇春；黑的脸谱表示刚烈、正直、勇猛甚至鲁莽，如包拯、张飞、李逵等；黄的脸谱表示凶狠残暴，如宇文成都、典韦。蓝或绿的脸谱表示一些粗豪暴躁的人物，如窦尔敦、马武等；白的脸谱一般表示奸臣、坏人，如曹操、赵高等。
京剧脸谱的画方法，基本上分为三类：揉脸、抹脸、勾脸。脸谱最初的作用，只是夸大剧中角的五官部位和面部的纹理，用夸张的手法表现剧中人的性格、心理和生理上的特征，以此来为整个戏剧的情节服务，可是发展到后来，脸谱由简到繁、由粗到细、由表及里、由浅到深，本身就逐渐成为一种具有民族特的、以人的面部为表现手段的图案艺术了。
参考资料： 百度
京剧在塑造人物方面有其独特的造型语言。它把不同性别、性格、年龄、身份的人物划分为不同的行当，一般说来有"生、旦、净、丑"四大行当。由于京剧人物造型形象鲜明、风格多样，有强烈的剧场效果，常常更易于激起观众的欣赏兴趣。
                                生行
                                京剧中的
                                "生"，一般指剧中扮演男子的演员，其中又可细分为"老生"、"小生"和"武生"。"老生"，顾名思义就是中老年男子角，在剧中多扮演正直刚毅的人物形象，例如京剧《伍子胥》中的伍子胥.他们演出时要戴挂在耳朵上的假胡须，在京剧的行话中也叫"髯口"，因此还专门有一套髯口上的表演功夫。胡须的颜表示了人物的年龄。京剧《四郎探母》中的杨四郎年约三十岁，所戴胡须为黑。京剧《秦香莲》中王延龄年约六十，所戴胡须为白。老生在剧中一般注重演唱和细腻表演，唱腔上也最为丰富。台词用京剧中的韵白来表现，演唱用真声，风格刚劲、挺拔、质朴、醇厚，动作造型也以雍容、端方、庄重为基调。与老生相对应的是
                                "小生"，在京剧中指青少
                                年男子角，他们在剧中的动作造型儒雅倜傥、秀逸飞动。在演唱上采用真假声结合的唱法，演唱风格华美和明亮。例如京剧《白蛇传》中的许仙.
                                "武生"是指扮演剧中年轻的男性武将，他们用高超的武打技术来展示剧中人物的武艺高强。不重演唱，注重武打动作的娴熟和技巧的难度。例如京剧《长坂坡》中的赵云.
                                Role of Sheng
                                The roles on the Chinese opera stage fall into
                                four categories -- Sheng, Dan, Jing and Chou.
                                These roles have the natural features of age and
                                sex, as well as social status, and are
                                artificially exaggerated by makeup, costume and
                                gestures.
                                Sheng, a male role, usually a leading one, dates
                                back to Southern Drama of the Song and Yuan
                                Dynasties (960-1368). This role appears in
                                operas in all historical periods. According to
                                the age and social status of the characters,
                                Sheng falls into five sub-groups: Laosheng,
                                Xiaosheng, Wusheng, Hongsheng and Wawasheng
                                (characters of children).
                                Laosheng is also known as Xusheng, meaning
                                bearded men, because the actors wear artificial
                                beards, and they are middle-aged or elderly men.
                                Most are upright and resolute characters. They

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