THE THEATRICAL EFFECT OF MAKE-UP IN QU BO’S TAKING TIGER MOUNTAIN BY STRATEGY

ABSTRACT This study explores the theatrical effect of makeup in Qu Bo's Taking Tiger Mountain by Strategy, a seminal Peking opera adapted during China's Cultural Revolution (1966-1976), with a comparative analysis of makeup practices in Nigerian theater. Focusing on the opera's lianpu system, the research examines how stylized makeup designs using symbolic colors and patterns convey character archetypes, ideological messages, and emotional depth, enhancing the performance's propagandistic and aesthetic impact. Through a detailed literature review, the study defines theatrical makeup, highlights its importance in character transformation and audience engagement, and traces its historical evolution in both Chinese and Nigerian contexts. The analysis compares the codified lianpu of Peking opera, as seen in characters like Yang Zirong and Vulture, with the culturally expressive makeup of Nigerian traditions, such as Yoruba Alarinjo and Igbo masquerade performances, which utilize indigenous materials to reflect ethnic identities. Drawing on a blend of theater studies, cultural histories, and performance analyses, the research underscores makeup's role as a vital artistic tool that bridges narrative, cultural, and political dimensions. Findings reveal that while Peking opera's makeup serves ideological clarity, Nigerian theater's makeup prioritizes cultural preservation, yet both enhance theatricality and audience connection. This comparative study contributes to understanding makeup's multifaceted role in global theater practices, offering insights into its adaptability across diverse cultural and historical contexts.