Muichoo's CHINESE OPERA

Chinese Opera elements that I will be adding:

-MOVEMENT
1. Small steps all the time.
2. Hands gestures (you know the conventional way of putting your hand in an awkward position during performance all the time??)
3. During my monologue, my movements will be even more exaggerated into Chinese Opera style.

-SPEECH/VOICE
1. I tend to lengthen my way of speaking but people must always remind me (esp. Sarah) to talk faster. (Or else the play will be too long!)

2. My voice will be of a higher pitch than everyone else except maybe for Guak when she shrieks.

2. During my monologue, can I possibly.. sing? In Chinese Opera style?

MY CHINESE OPERA CHARACTER: It's difficult to choose between Qingyi & Huadan!!! I've got a social status of Huadan but movements and thinking of a Qingyi! Can I possibly be Huashan? Read on.

QINGYI VS HUADAN
(things that match will be in blue & things that don't match will be in red)
Qing Yi actress portrays a lady of good and sympathetic character. Usually of a quiet, gentle disposition and graceful in her movements, she is the Chinese ideal of a beautiful woman. As a wife she is faithful, as a young girl a model of propriety. Her good breeding is shown by the graceful, flowing movements of her 'water sleeves'. The Qing Yi's costume is elegant, simple and of good quality, but not as vivid in color as that of the Hua Dan. Her singing is of a pure, high-pitched quality.

For a Hua Dan actress the gay, flirtatious personality of a young girl is required. Usually not of such a high social standing as the Qing Yi, the Hua Dan actress with her coy, coquettish and generally quicker movements arrests the attention of the audience. This is a difficult part to play successfully. The Hua Dan's facial expression is continually changing and her mischievous eye movements are particularly attractive. Because of her lower social status more hand movements are required, as in olden times it was not considered polite for a well-bred Chinese lady to show her hands. Costume, usually vivid in design and color, consists of a jacket and trousers, and a red or coloews handkerchief is carried to flutter in the actress's hand. Her character, needless to say, is not as virtuous as that of the Qing Yi and therefore her singing voice has a gayer and slightly stronger quality. She also has to do more speaking than singing.

A Gui Men Dan is the young, unmarried girl, who in later life will develop into a Qing Yi or a Hua Dan; her immaturity is clearly shown in her reactions, for though naughty and slightly mischievous, she has not the confidence of the Hua Dan, although her schemes and plans are often just as successful.

From http://www.chinahighlights.com/travelguide/beijing-opera/roles.htm#dan

5)Dan
The Dan (旦) refers to any female role in Beijing opera. Dan roles were originally divided into five subtypes. Old women were played by laodan, martial women were wudan, young female warriors were daomadan, virtuous and elite women were qingyi, and vivacious and unmarried women were huadan.
One of Mei Lanfang’s most
important contributions to Beijing opera was in pioneering a sixth type of role, the huashan. This role type combines the status of the qingyi with the sensuality of the huadan.
(another version) This role type combines the nobility and grace of the “qingyi” with the flirtatious, extrovert characteristics of the “huadan.”

This website shows Traditional Meets Experimental--Modernizing Peking Opera on the Mainland :
http://www.sinorama.com.tw/en/show_issue.php?id=199678507050E.TXT&table=2&h1=Art+and+Culture&h2=Traditional+Opera