The Tears Of Facial Makeup

The Ancient Greek drama, Sanskrit drama and Chinese opera are the most ancient theatrical culture in the world. Chinese opera is a composite performance art that is an amalgamation of various art forms, such as music, song and dance, martial arts, acrobatics, as well as literary art forms with roots going back to the early periods of China. These forms of drama cannot exist without a series of performances by its performers who are the most momentous inheritor of Chinese opera. The soul of Chinese opera in different kinds of regional branches is evidenced by its performers who have been carrying forward it from generation to generation and they are animate history, vive cultural heritage and spiritoso art. The performers’ life, destiny and circumstances should be captured since the historic environment the performances in can reflect the condition of Chinese opera. Facing the global language environment, traditional Chinese opera, as a traditional art of the Chinese nation, has much to do with the development of Chinese films. The matters of studying the history, the present situation and the future progress of Chinese film must meet with Chinese opera. The culture of traditional Chinese opera and the living condition of performers are oriented by many directors in China. These directors have added some elements of drama to their excellent films with rich and deep culture which have captured the moviedom’s attention, which exert a profound influence on the spread of Chinese opera. The movies about the performers as professional protagonists in Chinese contemporary films are mainly studied in this research paper which mainly discussed the following nine films: Stage Sisters directed by Xie Jin in 1965, Ghost Love directed by Huang Shuqin in 1987, Farewell My Concubine directed by Chen Kaige in 1993, The King of Masks directed by Wu Tianming in 1995, Go Home directed by Li Chensheng in 2002, Eyes of a Beauty directed by Guan Hu in 2003, Dam Street directed by Li Yu in 2005, Forever Enthralled directed by Chen Kaige in 2008 and Love on Gallery Bridge directed by Chen Li in 2012. The characteristics, self-identification, the living conditions, the historical language environment of the performers are studied depending on film semiotics, philosophy, psychology, gender studies, performance appraisal and many other theories through the above nine films to explore the influence on them, to search the meaning of “life is just like a drama”, to feel the attitudes of the performers towards art, to experience the gender identity, to find the relationship between the directors and these kinds of films as well as the performers between themselves. The function of metaphor in the role of drama’s performers in Chinese contemporary films is also discussed in this research paper. There is no specific, concrete and thorough analysis about the roles of drama’s performers in Chinese contemporary films because few foreign scholars studying it and native scholars are paying much attention to the style and the ways of expressions and instead of it. To compensate for this perfectible analysis, I produced this research paper to help people to better understand the living condition as well as the invisible meaning of the roles of drama’s performers in Chinese contemporary films so as to create wonderful films relating to it. We must dig out our thorough culture and suck the nutrition at it to promote the development of our films since there are a lot of Hollywoodish films impacting on our language environment.