laosheng (old male role)

laosheng (old male role)
Name	Laosheng
Othernames	Old male role
Tradition	Peking opera
Origin	China
Attributes	Bearded, dignified, middle-aged to elderly

laosheng (old male role) is a principal archetype in Chinese Peking opera depicting mature and elderly male characters such as officials, generals, scholars, and fathers. Laosheng roles are characterized by a painted or natural face, a long beard, steady vocal delivery, and stylized movements drawn from regional traditions like Jingju and influences from troupes associated with figures such as Cheng Changgeng, Tan Xinpei, Mei Lanfang, and Yu Shuyan. Performers often trained in academies linked to institutions like the China National Peking Opera Company, Shanghai Peking Opera Company, and schools patronized by patrons such as Empress Dowager Cixi.

Definition and characteristics

Laosheng characters typically represent venerable personae including civil officials tied to dynasties like the Ming dynasty and Qing dynasty, military commanders reminiscent of figures such as Guan Yu and Zhuge Liang, or elder family heads appearing in plots involving families like the Kong family in adaptations of Romance of the Three Kingdoms. Physical markers include a long false beard associated with personas like Zhou Yu and Cao Cao, robes styled after garments worn by officials in the Song dynasty and Tang dynasty, and an upright bearing reflecting Confucian ideals championed by thinkers such as Confucius, Mencius, and Zhu Xi. In ensemble works staged at venues like the Liyuan Theatre, laosheng often interacts with roles including dan (opera), jing (role), and chou (role).

Historical development

The laosheng role evolved from earlier Chinese theatrical forms including Nanxi and Yuan drama, absorbing performance practices from regional genres like Kunqu and Huju. Prominent 19th-century artists such as Xun Huisheng and Cheng Yanqiu helped codify vocal techniques later institutionalized by companies in Beijing and Shanghai. During the Republican era, figures like Ma Lianliang and troupes touring cities including Tianjin and Guangzhou expanded the laosheng repertoire with new plays by playwrights such as Gao Ming and adaptations of narratives from Water Margin and Journey to the West. Political campaigns in the People's Republic of China era and performances at events like the First National Congress of the Chinese Musicians' Association prompted reforms influencing costume simplification and thematic selection, while later revivals by maestros linked to institutions like the National Centre for the Performing Arts reinstated traditional forms.

Vocal and musical techniques

Laosheng singing employs stylized vocal production derived from schools associated with masters such as Ma Lianliang, Shi Yihong, and Li Yugang, blending chest register timbre with head resonance similar to techniques taught at conservatories like the China Conservatory of Music. Accompaniment typically features instruments from the Jinghu family, Yueqin, Sanxian, and percussion ensembles used in arias called xipi and erhuang, echoing compositional patterns found in repertoires by playwrights like Huangmei and composers linked to the Shanghai Conservatory of Music. Rhythmic interaction with percussion conventions codified by masters such as Wang Yaoqing shapes phrasing, while ornamentation borrows from regional styles popularized by touring artists to audiences in Hong Kong and Taiwan.

Costumes, makeup, and props

Laosheng costumes often replicate official robes like the mangpao and ceremonial garments seen in imperial records from the Qing dynasty and Ming dynasty, embroidered with motifs such as dragons associated with imperial iconography in collections at institutions like the Palace Museum. Makeup tends toward naturalistic powders rather than the painted faces of jing (role), though stylized beard attachment techniques trace back to workshops employed by troupes under impresarios like Cheng Changgeng. Props include the long staff used by elder advisors in scenes reminiscent of episodes from Romance of the Three Kingdoms, the folding fan linked to scholar figures such as Zhuge Liang, and the horse-hoof clappers used in military tableaux staged in venues frequented by dignitaries including Sun Yat-sen.

Subtypes and role variations

Subcategories of the laosheng tradition include specialized types such as the military laosheng embodying generals like Guan Yu and Zheng He, the civil laosheng portraying officials akin to Bao Zheng and Sima Qian, and the elder scholar figures evoking literati like Su Shi and Wang Anshi. Regional variants appear in styles such as Hubei-influenced laosheng, Sichuan opera equivalents, and adaptations in genres like Kunqu and Cantonese opera, each aligning with local repertoires associated with playwrights such as Tang Xianzu and Li Yu. Cross-cultural presentations have placed laosheng roles in festivals alongside international troupes from Japan, France, and the United States.

Performance conventions and training

Training for laosheng roles follows rigorous apprenticeships in schools connected to masters like Ma Lianliang and conservatories such as the China Conservatory of Music, combining movement, vocalization, and martial basics taught in programs sponsored by cultural bodies like the Ministry of Culture of the People's Republic of China. Rehearsal regimens emphasize coupling with jingju orchestras, stage direction informed by historical manuals, and mentoring systems similar to those used by troupes led by impresarios like Cheng Changgeng and directors affiliated with the Shanghai Peking Opera Company. Modern pedagogues incorporate research from scholars at universities including Peking University and Tsinghua University to preserve repertoire while adapting laosheng technique for contemporary stages at venues such as the National Centre for the Performing Arts.

Category:Peking opera roles