The entire dressing room was quiet for a few seconds, and even the makeup artist couldn't help but stop the movements in her hands, and looked at Cheng Xiaolou and Liu Fengying in the mirror fixedly for a moment, until they both subconsciously looked away, and then she continued to outline with a smile on the corner of her mouth.

Danxing's makeup is carefully distinguished according to Tsing Yi and Hua Dan, and there are also different emphases.

Tsing Yi should look solemn and elegant, so the background color should be lighter, the blush part should be smaller, the color should be lighter, willow eyebrows, Danfeng eyes, and the eye circles will not be too heavy and too wide.

Hua Dan mostly plays the role of a young, lively, and innocent lady, so the background color is slightly darker, the blush part is slightly larger, and it shows the vitality of youth, the two ends of the eyebrows are slender, the middle is slightly, thick and curved, and it is a crescent moon shape, and the mouth shape is smaller than that of Tsing Yi, which is round, and the corners of the mouth are slightly raised. Some Hua Dan's Yin Tang also has to draw a red dot to highlight the innocent and lovely characteristics.

The makeup background of Wudan and Dao Ma Dan should be darker, and the blush part should be larger, which shows the robustness and bravery of the characters in the play.

After putting on the face makeup, in fact, only half of the makeup is completed, and the next highlight is the head makeup.

The so-called head makeup is actually a patch.

The "Mulan Ci" said in "When the window is cloudy and the temples are yellow, the mirror appliqué is yellow", in fact, it has already chanted the aesthetic ideals of ancient women.

The powdered face, red lips, eyebrows, phoenix eyes, and cloud sideburns of Peking Opera Danjiao makeup have also developed this traditional makeup method to the extreme.

The technique of Danjiao, commonly known as patching, is the second step of perfecting Peking Opera makeup.

The films are also very particular about the horn stickers, and they are usually divided into three types.

One is to paste the two willows, this sticking method is to add Qi Meisui to paste the two willows into the moon door type, and the general range of use is the ancient fairy.

The front and back positions of the two big willow stickers are determined by the fat and thin face shape of the horns, the length of the big willow should be covered according to the face shape, and the eyebrows should not be too short, and the middle part of the two eyebrows should be selected.

Instead, sticking small bends and big willows is the most commonly used sticking method for general Tsing Yi and Hua Dan characters.

In the past, the film was made of paper tires and lacquer, which was very rough, but now it is basically made of human hair, which is comfortable and realistic to stick to the head.

The films that the makeup artist pasted for Liu Fengying are Xiaowan and Da Liu.

Cheng Xiaolou saw that after she combed the film with shavings water first, she gently pasted it on Liu Fengying's face, and at the same time pasted the water fold to block Liu Fengying's ears.

The small bends are divided into seven and five, and the piece on Liu Fengying's head belongs to the seven small bends.

The make-up artist first pasted one in the middle of her forehead, and the other six arched on both sides.

These seven small bends play a particularly large role, it can modify the face shape of the horn to the greatest extent, and the height and density of the arrangement can even determine the beauty and ugliness of the horn.

Generally, the sticking method of the small bend and big willow of the traditional opera horn is based on the duck egg shape, and the rules follow the law of long and short faces, and short faces and long faces.

Of course, this is just a general sticker. Experienced and talented Peking Opera makeup artists have their own unique aesthetics and skills for patches.

I have to say that Liu Fengying's exclusive makeup artist is indeed a master. Cheng Xiaolou saw that she seemed to post the film casually, which immediately made Liu Fengying, who was already captivating the country and the city, more beautiful.

The third kind of film is called crooked peach, and the so-called crooked peach film is actually externalized by the inner emotions of the characters in the play through technical means.

And the patches of Peking Opera makeup are also to serve the character traits of the characters in the play.

Generally, crooked peach slices are suitable for spicy Danjiao, such as the nine grandmothers in "Baluo River" are crooked peaches to show her bold and dissolute character.

The crooked peach slice is composed of three small bends and two large willows, three are pasted on the left side of the brain, and a small piece is bent into a crooked peach shape on the right, and then the flowers are sown or worn with the eyebrows. There is also a forbidden woman, and most of them are crooked peach slices.

The film is black and the powder is white, and the combination of the two forms a strong contrast, thus producing a unique artistic effect, coupled with its cloud-like curved form, forming a neat and beautiful effect with the face.

This is also an internal rhythm that distinguishes Peking Opera from other art forms.

As an art that has been inherited for nearly a thousand years, Peking Opera has long formed extremely unique and elaborate rules in terms of appearance.

Especially among the pure ugliness of Shengdan, the most profound Dan line is even more so.

The content of most traditional dramas is mostly about the lives of emperors and generals, talented and beautiful people, and ordinary people. According to the history and the evolution of costumes and headdresses, the program of Peking Opera Dan Character Appearance was gradually produced.

Tsing Yi is mostly Zhengdan in Peking Opera, and the appearance is dignified and generous, and the outline of the eyebrows and eyes should be delicate, and the duck egg shape is the general standard. The overall effect should be graceful and luxurious, basically based on wearing dotted emerald and silver ding, and at the same time, according to the changes in the characters and storyline in the play, the change of the headdress was determined.

For example, wearing red velvet flowers and crested peach is to indicate marriage and celebration, the left Daiz mushroom leaf is widowhood and widowhood, and the right side of the hair is to indicate the mental state of wandering, hair distribution and madness.

Tsing Yi opera is also very particular about the combing of the big head, the reference coefficient of the high, low, thin, thick, long and short of the big head comb should be combined with the head shape and body proportion of the horn to understand, the combed hair is not pouting or warped, and the actor's head is consistent with the sticker, and there must be an overall feeling.

The other positions of the hairpin should be more accurate, and the appreciation standard after combing should be the same as the horn's own hair, if fans can see at a glance that it is fake, it will be a joke.

According to the age and identity of the characters in the play, the whole play is tragic or comedy, and there is a corresponding head.

For example, tragic characters, even if some scenes can wear a little emerald head, but it is by no means full of emerald hair.

Hua Dan mostly plays innocent and lively girls or ladies, so their head color should be bright and dazzling, radiant, most of them comb their big heads, with braids, their heads should be combed smaller than Tsing Yi, and they have to play net flowers with buns on their heads, indicating their identity as girls who have not been out of the cabinet.

The head of Hua Dan is mainly dominated by double-light rhinestones, full of bright light, and the embellishment of small phoenix peaches is very bright and bright. Some Hua Dan operas also wear an ear digging to form a "half-side warp", that is, half a grass flower, half a head of the face, which can also produce a kind of non-neat coordinated beauty.

Wudan and Dao Ma Dan are different, they play more chivalrous heroes in the play, and most of the forms of expression are mainly martial arts, so the basic principle is to decorate and wear the head with less and lighter, otherwise it will be a big joke to become a fan of the stage with a hidden weapon flying to the stage.

The positive characters of Wudan and Dao Ma Dan should be inserted with face cards and hydrangeas, and the negative characters should be inserted with mushroom leaves and pompoms on the right. Reflecting the gods and ghosts, Wudan has to play colored balls and wear foreheads.

The colored balls should be tied evenly with petals, the silk is not crooked, and the size of the three balls corresponds. In some martial arts dramas, the method is to twist the horn on the head according to the identity of the character, by using one on the left and one hand, repeatedly tying each other on the head, leaving two horns to show the capable and simple character and identity of the characters in the play.

Cai Dan plays more witty, funny, and humorous roles in the play, of course, there are both positive and negative characters, the positive character Cai Dan combs three sets of ant mustaches, and the negative character combs Suzhou pout, with red pepper.

Therefore, for those veteran theater fans, as soon as the gong and characters appear on the stage, even if they don't open their mouths, they can see at a glance what role they are playing from their appearances, and even roughly guess the tone, style and even story direction of the whole play.

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