本书以通俗的笔法和图文并茂的方式，用13个章节介绍了京剧的艺术特色。首先，从京剧的起源、发展、传承等历史知识开始，介绍京剧的乐队、音乐、声腔、念白等内容，然后介绍京剧的行当、舞台装置、服饰、化妆等基本知识，并引导读者更深入的了解京剧表演的基本方法，如唱念做打、手眼身发步以及程式化和虚拟化的表演形式，最后介绍京剧的教育机构和一些有名京剧演员，对初次接触京剧的观众起到启发和帮助的作用。

Introduction
Chapter 1 Origins 1
Peking Opera, an art form according to a vast theater tradition / 2
Elegant companies and floral companies – kunqu and the others / 4
An ancient filiation – puxian opera and puppets / 7
A significant support / 10
Managing performances at the imperial court / 12
Peking Opera beyond Chinese borders / 15
Chapter 2 Role Categories 19
Sheng / 21
Dan / 29
Jing / 36
Chou / 39
Fanchuan / 44
Liangmen bao or the art of taking up multiple roles / 46
Chapter 3 The Stage 49
The backdrop (shoujiu) / 51
The generals’ entrance and the ministers’ exit (chujiang ruxiang) / 52
The orchestra (changmian) / 53
One table and two chairs (yizhuo liangyi) / 55
The tablecloth and chair covers (zhuowei yipi) / 56
The tapestry (zhang) / 60
The city wall canvas (bucheng) / 63
Decorated frames (jingpian) / 64
The mountain frame (shanpian) / 65
The cloud frame / 67
Lighting (dengguang) / 67
Chapter 4 Accessories 71
Weapons (daoqiang bazi) / 72
The hunting crop (mabian) / 77
The oar (chuan jiang) / 78
Flags (qi) / 78
The fly-whisk (yunzhou) / 85
The fan (shanzi) / 86
The sunshade, parasol or umbrella (san) / 88
The cangue (jiasuo) / 91
The lantern (denglong) / 93
The torch (huoba) / 94
Chapter 5 Costumes 97
Court robes (mangpao) / 100
Civil servant robes (guanyi) / 104
Great armor (dakao) / 105
Modern armor (gailiang kao) / 109
Dress (zhezi) / 109
Inside dress (pei) / 113
Tunic-trousers outfit (ku ao) / 115
Skirt (qun) / 116
Manchu dress (qipao) / 117
Archer’s outfit (jianyi) / 119
Short jacket (magua) / 120
Hero’s outfit (yingxiong yi) / 121
Agility outfit (kuai yi) / 122
Combat outfit (zhanyi zhanqun) / 123
Headdresses (kuimao) / 124
The imperial headdress (huangmao) / 125
The forehead adornment (e’zi) / 128
Stage shoes (xue xie) / 135
Beards (rankou) / 141
Chapter 6 Makeup 149
Elegant makeup (junban) / 150
Eyebrow stretching (diaomei) / 151
Clown makeup (chouban) / 152
Painted faces (hualian) / 154
Makeup for female roles / 164
Chapter 7 Basic Techniques 171
Mat training (tanzi gong) / 174
Weapon training (bazi gong) / 175
Aquatic sleeves technique (shuixiu gong) / 181
Ribbon technique (caichou gong) / 183
Feather handling (lingzi gong) / 184
Beard technique (rankou gong) / 185
Fan technique (shanzi gong) / 186
Ponytail technique (shuai fa) / 188
Handkerchief technique (shoujuan gong) / 189
Chair technique (yizi gong) / 191
Qiao technique (qiao gong) / 192
Chapter 8 Storytelling Based on Song, Dance and Acrobatic Combat 197
Grace in movement and musicality / 198
Combats / 202
Dueling (duida) / 207
Jumps (fan pu or fan gentou) / 208
Jumping from an elevated platform (xiagao) / 211
Falls (shuaida) / 213
Passing (chushou) / 214
Chapter 9 Song, Speech, Gestures and Combat 219
Song (chang) / 220
Speech (nian) / 224
Gestures and/or playing style (zuo) / 228
Combat (da) / 234
Chapter 10 Hands, Eyes, Body, Hair and Steps 241
Hands / 242
Eyes / 247
Body / 252
Hair / 258
Steps / 262
Chapter 11 The Art of Acting Governed by Conventions 271
The presentation pose (liangxiang) / 274
Circle steps (yuanchang) / 276
Warrior preparation (qiba) / 278
Combat progression (zoubian) / 279
Horseback riding (tangma) / 281
Cloud-hand movements (yunshou) / 283
Going up and down stairs (shanglou xialou) / 284
Opening and closing doors (kaimen guanmen) / 286
Going by boat (cheng chuan) / 288
Extras’ roles (longtao) / 289
Chapter 12 A Style of Acting Relying on Evocation 295
The actor’s artistic culture / 298
Style of acting relying on sketching and suggesting / 303
An embellished life, a sublimed life / 306
Taking liberties concerning space and time / 309
Self-presentation on stage (zibao jiamen) / 311