BOOK REVIEWS
173
a fish-scale design all over the dress. But neither points out that the shiny most bluish satin simulates the metal of the armour and the scales simulate the plates of the armour. The back-flap is cut into strips and they obviously look and are arranged like tail feathers; feather-strips are hanging down from various parts of the costume. The generals bristle and ruffle their feathers with every movement, and while fighting they look like an enormous flustered phoenix in attack.
Most opera costumes have so-called water-sleeves of white thin silk attached to the actual sleeve. They are like cuffs, open at the seam, and when they hang down, they almost reach the floor. These sleeves play a very important part in the technique of acting. Miss Halson only describes a few sleeve-movements like: using the sleeves to hide in embarrassment, or thrown up in bewilderment, that they are used as a muff in winter and as a fan in summer. Scott explains 100 different sleeve-movements and tells by which character they are used: e.g. in T'ou hsiu the two sleeves are flung out together, to the right, whilst the face looks left, which symbolizes making a decision or anger and is only performed by the Ching I or demure young woman. I would like to add that these sleeves are found in Chinese costumes already as far back as the Han dynasty about 2,000 years ago. The cuff was not added to the sleeve, but the sleeve itself was very long. It can still be seen in the blouses worn by Tibetans. In the art of Chinese dancing, the flowing of the sleeves are such an important part, that movements are often only directed to produce the desired flow. It expresses the Chinese love for flowing lines, very well known from their brush-strokes. Actually in both books I feel the absence of linking the descriptions of the appearance with its cultural background.
All faces are made up in Peking Opera. Older people and middle-aged ones have a natural make up, young men and women have the middle of their face powdered white, cheeks and eye-lids are deep magenta. But the most striking are the multi-coloured painted faces. They are only for male parts: warriors, generals, ministers and officials. Miss Halson suggests an origin for these: branded criminals tattooed their scars to disguise the marks. This is very far fetched. Her second explanation is that the actors wanted their faces to stand out. Any make up is of course to this end; but she did not hit the simple truth. Masks were used before the great step forward was taken when, recognizing the disadvantages
BOOK REVIEWS
173
a fish-scale design all over the dress. But neither points out that the shiny most bluish satin similates the metal of the armour and the scales similate the plates of the armour. The back-flap is cut into strips and they obviously look and are arranged like tail fea- thers; feather-strips are hanging down from various parts of the costume. The generals bristle and ruffle their feathers with every movement, and while fighting they look like an enormous flustered phoenix in attack.
Most opera costumes have so-called water-sleeves of white thin silk attached to the actual sleeve. They are like cuffs, open at the seam, and when they hang down, they almost reach the floor. These sleeves play a very important part in the technique of acting. Miss Halson only describes a few sleeve-movements like: using the sleeves to hide in embarrassment, or thrown up in bewilderment, that they are used as a muff in winter and as a fan in summer. Scott explains a 100 different sleeve-movements and tells by which cha- racter they are used: e.g. in T'ou hsiu the two sleeves are flung out together, to the right, whilst the face looks left, which symbolizes making a decision or anger and is only performed by the Ching I or demure young woman. I would like to add that these sleeves are found in Chinese costumes already as far back as the Han dynasty about 2,000 years ago. The cuff was not added to the sleeve, but the sleeve itself was very long. It can still be seen in the blouses worn by Tibetans. In the art of Chinese dancing, the flowing of the sleeves are such an important part, that movements are often only directed to produce the desired flow. It expresses the Chinese love for flowing lines, very well known from their brush-strokes. Actually in both books I feel the absence of linking the descriptions of the appearance with its cultural background.
All faces are made up in Peking Opera. Older people and middle-aged ones have a natural make up, young men and women have the middle of their face powered white, cheeks and eye-lids are deep magenta. But the most striking are the multi-coloured painted faces. They are only for male parts: warriors, generals, ministers and officials. Miss Halson suggests an origin for these: branded criminals tattooed their scars to disguise the marks. This is very far fetched. Her second explanation is that the actors want- ed their faces to stand out. Any make up is of course to this end; but she did not hit the simple truth. Masks were used before the great step forward was taken when, recognizing the disadvantages
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