By Bill Arthur

　　Two years ago I was still a high school student in Mexico. I was in a special Creative Arts diploma program/seminar class at that time,swhereswe, asgroupsof young art fans, worked towards trying to figure out for ourselves what exactly an artist is and how culture affects art and vice versa. We had to research on different parts of the world and certain art forms in that culture, and I chose to Peking Opera. I found it fascinating and beautiful. From then on, I began to love this art form which the Chinese people called the quintessence of China? But, it was ironic that I hadn't watched the real Peking Opera for even one time; what I learned about it was just from books and internet. Therefore, my classmates said I was not a real Peking Opera fan and things would be quite different aftershavingsfirst-hand experience.

　　Two years ago, I followed my parents and came to BeijingswheresI had been longing for so long time. So I could have personal experience of Peking Opera and it gave me some first-hand insight on what the opera is really like.

　　Did you see the file Farewell to My Concubine and wonder about the squeaky voice produced by that beautiful female character who was actually a man? I was curious to learn why a style which appears to violate the principles of correct singing in Western music is considered aesthetically desirable in the Orient. I've attended several performances by the Peking Opera troupe. It seems that I found some explanation.

　　Chinese opera of the Peking variety is a difficult abstract art which synthesizes music, drama, dancing, and acrobatics along with very elaborate costumes and a minimum of props, according to traditions and customs dating back as far as the twelfth century. It is a role called Dan role which is characterized by the high-pitched squeaky voice cultivated to attract the attention of the audience and appeal to the auditory preference of traditional Chinese gentlemen.

　　It is said the colors of the costumes are significant. For example, yellow is for royalty, red for high-ranking officials, green for virtuous persons, black for the tough, and brown for the aged. Equally meticulous attention is given to headgear, beards and whiskers.

　　The props used in Chinese opera are very simple and relatively few in number. The intent is to suggest rather than depict. For example, an oar can represent a boat; banners can suggest billowing waves; a whip can represent a horse. Tables and chairs constitute multipurpose movable scenery for representing many different things. Indoor scenes are enhanced by the use of colorful carpets. The stage of Chinese opera is outfitted by the imagination of the audience.

　　The music relies mainly on already existing melodies, many from folk songs, to which the playwright adds fitting lyrics.

　　The visits to the Peking Opera troupe are quite an experience. It is a most appropriate starting place for a peking Opera Experience.