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BOOK REVIEWS
of a mask, they painted the features of the masks right on the face. The mask cannot change its expression, it lacks the spirit of the eyes and is lifeless, it hinders the speech and even more the singing, as is the case in the stagnant Japanese Noh-play. Mr. Scott does not give any background at all, but names the 15th century as the beginning of painted faces and gives them as the origin of the Japanese Kabuki make-up. He also says that their design is according to the Chinese rules of physiognomy.
The subject of painted faces is very extensive: a book published in Tai-wan a few years ago contains a thousand varieties of painted faces*.
Turning to other aspects, the Peking Opera stage is empty except for a table and 2 chairs. If a chair is placed on a table, it means a mountain, and can be used to indicate, for example, a general addressing his army. Rain, wind and storms are indicated by black or blue flags of thin silk, which are carried over the stage. Carrying a horsewhip means that this person is riding, a military order is indicated by a small triangular flag, 2 square flags with a wheel-design indicate a carriage and so on.
Both authors describe in more or less detail the system of the Peking Opera schools. It is surprising how few people know that we have such a school here in Hong Kong. 40 children are trained in this school, some as young as 6 years old. They get up early to train their voices, then comes the teacher for acrobatics, then opera parts are rehearsed. In the afternoon, they study general subjects, and in the evening they go to the Lai Chi Kok amusement park to give their daily performance.
If you want to take the chance, which is so easily available, to see this intriguing type of opera, you should also spend a few hours with Elizabeth Halson's short guide. This book really does fill the newcomer's need for a comprehensive, well-ordered, introduction enabling him to enjoy and appreciate what he sees in the opera; though not yet what he hears, like Chinese enthusiasts who go to the opera in order to hear it.
Hong Kong, 1973.
HELGA WERLE
Chang Pe-chin: Chinese Opera and Painted Face, Taiwan, Mei Ya Publications, Inc. 1969.
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