黄凯汶

千变万化

姓名：黄凯汶

鉴赏项目：川剧变脸

语录：魔幻般的变脸，让你叹为观止

 

介绍

变脸是一种源自于中国川剧的艺术。它不像其他戏剧表演，演员必须重新在后台换妆或换服，并以布幕隔开，才能再出场表演。 “变脸”最神奇之处，在于短时间内变出多款脸谱。川剧的演员运用“变脸”绝活，即使不换场也能变出五种脸相，不论喜怒哀乐都可以在刹那间变化出来，使演员能够将剧中人物的内心起伏，经由脸相的转变，表现得淋漓尽致。若加上换场，川剧演员可以再增加七到十个脸相，进而提高戏剧的张力和震撼性。

鉴赏与心得

川剧变脸是川剧艺术中塑造人物的一种特技，也是揭示剧中人物内心思想感情的一种浪漫主义手法。相传“变脸”是古人在面对凶猛的野兽时，以不同的方式勾画出不同的脸部形态，以吓唬入侵的野兽。渐渐地，川剧把“变脸”搬上舞台，用绝妙的技巧使它成为一门独特的艺术。

我选择的艺术表演是扯脸。“扯脸”是比较复杂的一种变脸方法。它是事前将脸谱画在一张张绸子上，并在修剪后对每张脸谱上系一把丝线，再贴在脸上。丝线则系在衣服的某一个顺手而又不引人注目的地方(如腰带上之类)。随著剧情的进展，在舞蹈动作的掩护下，一张张地将它扯下来。 

因此，在表演过程中，我先是贴上紫、粉红、黄等这三种颜色的脸谱，然后再配合舞蹈动作，一张张地依次扯下来，揭开自己的“庐山真面目”。此外，我也发现到川剧的特色就是凡是情感波折、内心激变之处，变脸皆有用武之地。然而那些怪诞狰狞的面相变化能表现出人物内心不可名状的律动，也是作为一种对人物内心非常独特的表现手法，这也无疑大大增加了川剧本身的表现力。总的来说，“扯脸”有一定的难度。一是粘脸谱的粘合剂不宜太多，以免到时扯不下来，或者一次把所有的脸谱都扯下来。二是动作要干净利落，假动作要巧妙，如此才能掩观众眼目。

Introduction

Face-changing (Bian Lian) is an art that originated from the Chinese Sichuan Opera. Unlike other theatrical performances where actors must change their make-up in backstage or into a different costume or be separated by a curtain before they can perform again, the most amazing aspect of "face-changing" is the variety of faces that can be created and the ability to change multiple faces in a very short period of time. With the use of "face-changing", Sichuan opera performers are able to change at least five faces without changing scenes, the emotion of happy, angry, sad, happy, surprised or sad can be expressed by the performers at the moment through “face-changing. Sichuan opera performers can change another seven to ten faces to increase the tension and impact of the performance with the additional scene changing.

Appreciation

Face-changing is a technique used to portray characters in the art of Sichuan opera, as well as a romantic technique to reveal the inner thoughts and feelings of the characters in the play. In ancient times, humans used this technique to draw their faces in a different way to scare off the invading beasts in order to survive. As time passed, Sichuan opera has brought "face-changing" to the stage, making it a unique art with great skill.

The art I chose to perform was face pulling. "Face pulling" is one of the more complicated techniques of face changing. It involves drawing the face on a sheet of silk, cutting it out, tying a handful of silk thread to each sheet, and then attaching it to the face one by one. The thread is then tied to a handy and inconspicuous part of the clothing (such as the belt). As the play progresses, the face mask is pulled off, one by one, under the cover of dance movements. 

During the performance, I firstly put on the mask with three different types of colours which are purple, pink and yellow. The mask was pulled off one by one during the performance following by dancing movement eventually, the ‘real-face’ of the performer will be revealed. I also found that Sichuan opera has its unique face transformation where there are changing emotional twists and turns and inner turmoil. However, expressing grotesque and hideous emotional changes is also a very unique style of performing the inner workings of the characters, which certainly added to the expressive power of Sichuan opera itself. In conclusion, there are certain difficulties in "pulling faces" performance. Mainly it is not advisable to put too much adhesive on the mask, this is to avoid the mask being unable to pull off all at once during the performance. Last but not least, the performance movements also should be graceful and the strategy of skill in changing mask also needs to be smoother to hide flaws from the audience.