The Classical Theatre of China by Scott A. C.;

Author:Scott, A. C.; [SCOTT, A C]
Language: eng
Format: epub
ISBN: 1539094
Publisher: Taylor & Francis Group

T’ui. LEG MOVEMENTS

Naturally foot and leg movements are inseparable in practice but there are twelve special leg movements which may be described independently of the foot movements because of their nature. Tun fid. All characters have a special stance when on the stage but a common factor is to ensure that the legs are not rigid but relaxed and yet controlled. The knees must be slightly bent although the audience should not notice this. This freedom of stance helps other movements in grace and appearance. Wan ?ui. This is only used by the wu tan and the wu sheng and is often seen when the actor is represented as mounted on horseback. The actor stands on one leg and the other is lifted bent and at right angles to the body, the lower leg is then slowly raised high to one side and finally down to touch the stage. K’ua fid. This is used when an actor is supposed to be turning a corner on his horse. When turning to the left the actor raises the ma pien in a sweep from the left waist into the air at the right with the palm facing front. The left hand touches the left waist and the left leg is lifted with bent knee so that the foot points diagnonally to the ground, the actor’s body being inclined as he performs the movement. In turning to the right, the right leg is lifted in a bent position so that the heel is above the left kneee. The right leg is then lifted high and outwards to the right and brought to the ground. The two hands hold the ma pien at waist height in front of the body which is inclined to the right when performing the movement.

T’i tui. Kicking. This movement is only used by the ching and wu sheng actors. The actor stands on one leg, the other being raised with the foot pointing to the ground so that it makes a straight line with the leg. It is actually a preparatory movement. The kicking movements are exceedingly difficult to perform and can only be done successfully after long practice commencing in childhood. T’ifui. Different from the movement described above. There are three methods. The first is performed by the sheng actor who first stamps his foot to signal to the orchestra then kicks sideways. The second method is used in fighting. The kicking leg is lifted high to the front with the leg in one straight line, the rest of the body must not move. Thirdly the ctiou performs his kicking with the ordinary movement used in real life. T’an fid. In this the thigh does not move when lifted $ only the lower leg performs the kicking movement. Ts’ai fid. A slight kick from the ankle is given with the foot. It means sending someone away.

Ch’iao fid. The actor is seated with the right leg crossed over the left with the foot held straight out and the sole of the boot in full view.

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