Facial expressions and body gestures are involved in acting skills. There are hundreds of symbolic gestures using the sleeves, hands, fingers, feet and legs. For the opera connoisseur it is the execution of these movements that mark the distinction of greatness for the actor. For example, when a Tan actor flings the two sleeves in one direction while facing the other, this symbolizes making a decision or anger. The Tan actor expresses embarrassment by holding open the hands with the palms upturned and the four fingers held together with the thumb bent on the middle finger; the Sheng actor holds his thumb straight. When the Sheng actor is lost in thought, he holds his beard at about the middle of its length in the first and second fingers, and moves his hand down a short distance with a stroking motion while his eyes move round and round.
The fighting skills of Chinese Opera consist of various forms of fighting and
borrow from Chinese martial arts such as, fist fights, weapon fights, and other fighting routines (including such offence and defense acts as kicking, hitting, throwing, holding, chopping and thrusting) and unarmed combats. It is being trained from the handling weapon skills of Chinese Opera.
The pa-tzu-kung martial routines require close mutual cooperation, all based on fixed numbers of sequences which are tight-knit and convincing, without the slightest laxity. The motions should be characterized by clarity, boldness and perfect timing because the motions are counted in performance. The atmosphere stresses the martial and dynamic. The entrance of a great general imbues the stage with awesome severity, both an imposing and beautiful a spectacle: for the scenes of combat developed in traditional opera have through hard discipline evolved into an art form which is without the slightest hint of cruelty or violence. For this reason techniques and routines of martial scenes have become an important aspect of Chinese Opera, and command a vast audience. Early operas usually relied on martial stories and martial actors to gain popularity, as without excellent martial routines it was difficult to win fame. Whether it be the traditional training ground or modernized special schools, training in the pa-tzu-kung martial art routines must be extremely exacting, forming a solid foundation. And periodically through creative research, new routines can be developed.
