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為藍本，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上，最終是由腳色來決定其造型。「髯口」為京劇中做鬍子的名目，而髯口的樣式大都是依據生活中人們的生理狀態為基準而設計，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，也有誇張性的一面，為的都是要突顯劇中人物的特性，有時也有為了整體性的美觀，做有彈性的變動，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、設計及規劃的定奪。

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 from proper “roles” they belong. After all, the ways characters dress are decided by their roles. “R’en-Ko” is fake moustache 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 takes an important part in characters’ 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 reach balanced visual effects, or adjusted according to characters’ ages. We could see also see characters compromising at a certain degree.

京劇；髯口；行當；類型；形式

Peking opera；“R’en-Ko,” role；types；styles；Costumes