Beijing Opera and Chinese Martial Arts Training Comparison Essay by Writing Specialists

Beijing Opera and Chinese Martial Arts Training
An in-depth look at the correlation between two, seemingly different, forms of art, the Beijing Opera and Chinese martial arts.
# 92534 | 5,455 words | 11 sources | MLA | 2006 | US
Published on Feb 23, 2007 in Sport (General) , Drama and Theater (General) , Asian Studies (General)

$79.95 Buy and instantly download this paper now


This paper looks into the parallels between actor training in the Peking and Beijing Opera and the training for Chinese martial arts. The paper consults historical and present day material in an attempt to make meaning of the training requirements for these two different, yet very closely related, artistic expressions of form, method, technique, and performance. The paper discovers that much more is involved than simply repetitious physical training and indeed that without the alignment of mind and body, the performer simply will not and cannot realize true mastery or excellence of performance.

Elements of the Beijing Opera
The Importance of Symbolism in the Beijing Opera
The Music of the Beijing Opera
Spoken Dialogue of the Beijing Opera
Use of Color in the Beijing Opera is Symbolic
I. The Beijing/Peking Opera and Training Requirements and Regimen Examined
II. David Wright - Experiential View of Training Requirements for Beijing Opera
III. Chinese Martial Arts Training Examined
Different Classification of Wushu
Ten Fundamental Skills in Chinese Martial Arts
Mental Skills Practice
IV. Examination of Similarities in Martial Arts and Beijing Opera Training
Characteristics of the Beijing Opera - Excess, More is More
V. Findings of this Study of the Similarities Shared by Chinese Martial Arts and Opera Training and Performing Skills
Summary and Conclusion

From the Paper:

"Physical training for these performers is "structured around repetition" (Wright, 2000) and "over the course of the workshop a range of key movement patterns were developed and refined in this way." According to Wright: "The movements would be demonstrated, the actors would copy movements and then repeat them..." over and over, and then over again. Wright relates that "Further movements and combinations of movements and developments upon movements would then be introduced. Repetition was used, not simply to get the movement right, the repetition of physical action is regarded in the Peking/Beijing Opera, according to Sussman, as a way of absorbing information. She states that there is a deliberate attempt, in this training, not to engage the actor in thought. The actor needs only to 'learn' the action in order to repeat it. Hence, the principal form of learning is the learning of the body. The body learns, then contains the information that comprises the style and the role and therefore the performance. It is the body that enters most fully into the research. And as the body learns, the body changes as a result of that learning. " (Wright 2000)"

Sample of Sources Used:

  • Shouyu, Liang and Chen, Bill (nd) An Introduction to Chinese Martial Arts Online available at:
  • Jackie Chan and the Art of Fighting (nd) Jump Cut: A Review of Contemporary Media. Online available at:
  • Gough, Richard (2003) Dancing with Joules: The Transformation of Performance Knowledge. Presented at the Virtuosity and Performance Mastery Symposium for Postgraduate research degree students and academic staff over two days by Performing Arts and Middlesex University. 31 May and 1 June, 2003.
  • Wright, David (2000) Applied Theatre Research, Griffith University and Idea: Article 3 Formwork: A Case Study of a Research Process
  • Chen, Bill ( nd) Groundwork of Chinese Martial Arts and Wan Lai Sheng.

Cite this Comparison Essay:

APA Format

Beijing Opera and Chinese Martial Arts Training (2007, February 23) Retrieved August 20, 2017, from

MLA Format

"Beijing Opera and Chinese Martial Arts Training" 23 February 2007. Web. 20 August. 2017. <>