戲曲人物中的人物,多取採於章回小說中,因此人物的造型多以小說中描述的形象爲藍本,再由各人物的身份、性格及年齡來規劃於行當中,因此戲劇人物在戲曲的舞台巨,最終是山腳色來決定其造型。「髯口」爲京劇中做鬍斤的名目,而髯口的樣式大都是依據生活中人們的生理狀態爲基準而設計,因此髯口在腳色的造型上有其一定的地位,而這些都是由於髯口隨著戲曲的沿革,腳色的規劃定位而引發出來的,所以在樣式設計上有含蓄性的一面,也有誇張陸的一面,爲的都是要突顯賺叮中人物的特性,有時也有爲了整體性的美觀,做有彈陸的變動,又有歲月的增長因素,因此人物會在程式化的規範下,也會做相互的協調、安排、設訓及規劃的定奪。
Characters in Chinese opera are often from traditional Chinese fictions. Thus characters are usually dressed based on illustrations in fictions, and decided by the specific occupations, personalities and age differences in out proper ”roles” they belong. After all, the ways characters dress are decided by their roles. ”R'en-Ko” is lake moustanche in Peking Opera ”R'en-Ko” is usually designed according to real people's physical features. It also reflects the historical changes of opera, and discussions of characters positions. Thus it take an important part in changes' appearances. Either R'en-Ko is styled in a delicate way or in exaggeration; the designs emphasize, characters' personalities, sometimes the design will be compromised to each balanced visual effects, or adjusted according to characters' ages. Ws could see also see characters compromising at a certain degree.