Classroom  1: Yu Hui 生 male role 

First week, Monday-Thursday 9 AM-12:30 PM

Lesson 1

Introduction to all the props--water sleeves and beard, and staff--used in the course, understanding the role of the “Four Skills and Five Methods” in Peking Opera. First, introduce the plots of The Black Dragon Courtyard and The Inn of Three Families, then perform excerpts. Teach a singing segment from The Inn of Three Families. Practice using water sleeves and the beard.

Lesson 2

Practice the use of water sleeves and teach the techniques for manipulating the beard, including swinging, flicking, and shaking—covering a full set of beard skills.

Lesson 3

Review and practice the content from Lesson 2, identify issues, and address them one by one to help students master the movements and techniques more effectively.

Lesson 4

Reinforce the beard skills taught in previous lessons and prepare for staff work by teaching the spinning staff technique.

Second Week, Monday-Thursday 9AM-12:30 PM

Lesson 5

Practice spinning the staff and teach the old sheng (male role) staff exit technique.

Lesson 6

Practice the staff exit technique, integrating Peking Opera’s hand, eye, body, movement, and step coordination in a holistic manner. Teach a performance segment from Black Dragon Courtyard (Wulongyuan), focusing on experiencing Peking Opera’s exaggerated, stylized movements, as well as the relationships and inner emotions of the characters.

Lesson 7

Practice the performance segment, aiming to master the material as thoroughly as possible.

Lesson 8

Review and rehearse all the content learned from beginning to end, ensuring that each student has fully grasped the material.

Classroom 2: Cai Xiaoying, 旦dan role

Weeks 1 & 2

Performance Pieces: “Song of the Pear Blossom” (Lihua Song) or “The Drunken Beauty” (Guifei Zuijiu)

Lessons 1 & 2:

            •           Learn vocal techniques, breathing, voice projection, singing, hand gestures, stage movements, and water sleeve techniques.

Lessons 3 & 4:

            •           Review and reinforce vocal techniques, breathing, voice projection, hand gestures, stage movements, and water sleeves.

            •           Learn singing techniques and performance skills, combining movement with singing to study the choreography of the selected piece.

Lessons 5 & 6:

            •           Continue to review and reinforce vocal techniques, voice projection, stage movements, singing, and water sleeves.

            •           Learn singing techniques and performance skills, combining movement with singing to study the choreography of the selected piece, including staff spinning techniques.

Lessons 7 & 8:

            •           Review and consolidate vocal techniques, voice projection, hand gestures, stage movements, singing, and choreography.

            •           Integrate the full performance piece (singing, choreography, performance, and formations), including staff spinning combinations.

Classroom 3: Xu Zhaoying, painted face jing 淨 

Let students understand the painted face and comic roles in Peking Opera, their characteristics, performance styles, makeup techniques, and symbolic meanings.

Weeks 1 & 2

1.Teach students to apply their own makeup, focusing on two painted face (Jing) patterns (Zhang Fei and Sun Wukong, with the patterns adjustable based on interest).

 2.   Teach Jing (painted face) movements (segments from Reed Marshes or The Mountain Gate), lines (segments from The Temple of the Dharma featuring Liu Jin and Jia Gui), and the techniques for Jing’s “waya-ya” and “Three Laughs.”

 3.   Teach a full sequence of Monkey King staff techniques. By the end of the course, students will aim to apply their own Monkey King makeup and perform staff movements.

 4. Teach the movements and performance styles of the Chou (comic) role.