The phenomenon of Peking Opera: Syncretic nature, symbolism, convention and canons

The study is devoted to the art analysis of Peking Opera. Particular attention is paid to the study of the deep potential of expressive themes and ideas, the creative heritage of drama, techniques and means of language in creating unique artistic images. On the basis of a comprehensive analysis, the phenomenon of Peking Opera is explored as a syncretic art form, where special attention is paid to the interaction of four key components: symbolism (symbolic codes), theatrical convention, syncretic nature and aesthetic canons. The choice of Peking Opera as a canonical example of traditional Chinese theater is justified by the codified system of its expressive means. Symbolism is understood as the meaning of a semiotic system of conventional characters, similar to decoding a record in the notation of hieroglyphs (the multifaceted meaning of each character can go beyond the literal meaning and therefore requires decoding for its complete understanding). Conventionality is considered as the form and methods of stylizing acting technique. Syncretism is presented as an organic combination of vocals, pantomime, acrobatics and other elements to create conditional unity. Aesthetic canons are examined from the standpoint of normative principles that ensure the integrity of the artistic language. It is assumed that the synthesis of the above components forms a unique mechanism for the symbolic and plastic embodiment of the images of Peking Opera. So, the purpose of the article is to clarify stylistic approaches in the construction of Chinese traditional opera and to argue for the characteristic features of the Peking Opera tradition as a theatrical art form and the central direction of China’s national art culture. The emphasis of the art history dimension shifts to two levels of understanding of the expressive means of opera art – symbolism and conventionality, which play an important role in the formation of holistic drama, architectonics and the artistic image of works. A hypothesis has been developed: within the boundaries of the syncretic nature of this art form, canons, convention and symbolism contribute to the creation of an artistic body language through the mechanisms of integration and transformation of traditional and non-traditional meanings of plastic (vocal, dramatic, musical) texts. The scientific novelty lies in the art history dimension of Peking Opera, its semiotic component and semantic structure. An integrated approach is used to analyze the pictorial-expressive language of Peking Opera as a harmonious aesthetic system. For the first time, an analysis of typical lines of physicality in creating an artistic image is being carried out. As a result, it is determined that the artistic image in Peking Opera simultaneously acts as a tool for broadcasting dynamic body language and a kind of technology for perceiving space (declaring itself in various types of art and synthetic spheres of creative activity), but at the same time has its own structure of semantic formations and aesthetic principles.