中國京劇（英）

　　“中華之美”叢書圍繞中華優(yōu)秀傳統(tǒng)文化這一主題，擇取其中15個專題分別加以介紹。這15個專題，包括以思想、智慧、藝術(shù)為主的“無形遺產(chǎn)”，以工藝、器物為主的“有形遺產(chǎn)”，以衣食住行樂為主的“民俗生活”，它們精心構(gòu)架，有機(jī)結(jié)合，勾勒出中國文化的一個總體面貌，并反映出“中華文化的理念、智慧、氣度、神韻”。 京劇并非北京土生土長的戲曲，而是由中國南方入京的徽班藝人和漢調(diào)藝人相互借鑒，并吸收了當(dāng)時流行于北京多個劇種的優(yōu)長而形成的新劇種，迄今已有200多年的歷史。京劇植根于東方文化這塊豐厚的土壤，與西方戲劇有著根本的差異?？吹骄﹦〉默F(xiàn)代人，難免會對京劇產(chǎn)生某種距離感，聽不懂也看不懂。但假如了解了京劇的藝術(shù)特點(diǎn)和文化內(nèi)涵，就會發(fā)覺一切是那么地有興味。本書深入淺出地講述了京劇產(chǎn)生、發(fā)展的過程及其深厚的民間文化背景，介紹著名的京劇表演藝術(shù)家和他們的生活，其中的梨園逸事、掌故和著名劇目的故事構(gòu)成了此書的諸多亮點(diǎn)。 Seeing a Peking Opera performance for the first time， a foreigner would wonder： why are faces of actors painted red， white， black， yellow or green？ Are they masks？ But masks are separate from the face. Facial make-ups in Peking Opera are different from masks. Intrigued， many foreign tourists would go backstage to see actors and actresses remove stage makeup and costume. Next time， they would go there before a performance starts to see how performers do their makeup. Luciano Pararotti， the great tenor of international fame， once had a Peking Opera actor paint on his face the makeup of Xiang Yu， a valiant ancient warrior portrayed in numerous Peking Opera plays.

　　徐城北，中國藝術(shù)研究院研究員、中國作家協(xié)會會員、中國電視藝術(shù)委員會戲曲委員會委員，曾獲第一屆京劇“文華獎”。已出版《京劇與中國文化》、《老北京》三部曲、《梅蘭芳》三部曲、《花雨紛披老字號》等著作60余種。 Xu Chengbei， researcher in Chinese Art Academy， Member of Chinese Writer’s Association. The peking opera play Wu Zetian that he wrote for the well-know contemporary opera actress Li Shji won the 1st Wen Hua Award. Profound research in the field of Peking Opera Culture and Beijing city culture. He has published more than 60 works including： Peking Opera and Chinese Culture， Old Beijing Trilogy， Mei Lanfang Trilogy， Old Well-known Brands.