是属于花衫这一行当的。
京剧四大名旦所编演的新剧目，大都属于花衫范畴，每个新戏都力求在唱、念、做、打各方面满足观众的观赏要求，如《霸王别姬》中的虞姬、《汉明妃》中的王昭君、《锁麟囊》中的薛湘灵、《红楼二尤》中的尤三姐等。
花衫戏中还有一种旗装旦，饰演番邦女子（少数民族的女子），穿清朝人的衣饰，梳旗头，脚下穿花盆底鞋，说京白。旗装旦所表演的人物并不限于清朝妇女，哪一个朝代的都有，如《苏武牧羊》中的胡阿云(汉代)、《四郎探母》中的铁镜公主(宋代)等。
然而从民国开始，花衫也有一种被美人才能换上的资格，如《霸王别姬》中的虞姬，《西厢记》中的崔莺莺，《贵妃醉酒》中的杨贵妃。
扩展资料
霸王别姬
剧情简介
秦末，楚汉相争，韩信命李左车诈降项羽，诓项羽进兵。在九里山十面埋伏，将项羽困于垓下（今安徽省灵璧县东南）。项羽突围不出，又听得四面楚歌，疑楚军尽已降汉，在营中与虞姬饮酒作别。虞姬自刎，项羽杀出重围，迷路，至乌江，感到无面目见江东父老，自刎江边。
《史记·项羽本纪》记载：霸王项羽在和汉高祖夺封建统治权的战争中，最后兵败，自知大势已去，在突围前夕，不得不和虞姬诀别。
梅兰芳由《史记》中，“不得不和虞姬诀别”引发联想，创下此剧。剧中虞姬共六个唱段，其中著名的《看大王在帐中（虞姬）》等。
参考资料来源：百度百科-花衫
参考资料来源：百度百科-霸王别姬
“虞姬”在京剧中属于“花衫”角色。应该是泛指年轻的、但已有家室的女性角色，虽然京剧里的“青衣”也是已成家的女性角色，但青衣一般都是比花衫年纪要大，更多是中年妇女的形象。答京剧里的“花旦”则纯粹是年轻未婚女孩子。
中国的剧种有很多，几乎每个省份都有自己的地方戏，而且有的省份还有多种的地方剧。比如熟悉的湖北，比较有名的就有楚剧、荆州花鼓戏，当然还有京剧和黄梅戏，据说安徽的黄梅戏就是从湖北传过去的。另外还有一些名不见经传的小地方的戏种。再如上海也有自己的地方戏，那就是沪剧，但总感觉沪剧应该和越剧差不多，毕竟都在江浙那一带，距离近，难免有相同的地方。
作为我国的几大剧种，京剧作为国粹无疑是最好看、最好听，也是最雍容华贵的，而唱京剧的那群人无疑也是最有气质、最有风度的一群人。其实最开始最喜欢的是越剧，京剧都是张着小口咿咿呀呀的唱，总觉得不真实，再然后突然的喜欢上楚剧，尤其是之前的老一辈楚剧演员的唱段，或大气豪迈，或阴柔静美，一时间，甚是着迷。但是自从看了京剧大青衣李胜素的唱段后，才发现京剧竟然是如此高尚纯美，那非是一般人可以欣赏的。
是前几年看的一个视频，就是梅兰芳的代表作那个“玉转冰轮”那一段。那时的李胜素太美、太雍容贵气，娓娓的唱着，到高音和长音的地方看不出一点吃力，熟悉得就像唱了千万年似的，早已了然于胸。其实京剧作为国粹，就是要这种德艺双馨的人来唱、来演，只要一出场，就自有一番气度，再开口，绕梁三日也不为过。自此，京剧在心中便从此有了神圣之地，李胜素更是心目中女神一枚。
也可以说是属于 花衫 这一行当的。花衫是介于花旦和青衣之间的一种行当，原来没有，从王瑶卿（梅兰芳的老师）演的戏开始有，到了梅兰芳演的戏里面，就基本形成了花衫这个行当。所谓始于王瑶卿，成于梅兰芳。
Beijing is China's second largest city after Shanghai, with more than 17 million people live in Beijing municipality, a province-level administrative unit with 16 urban and suburban districts and two rural counties; the city's urban area has about 13 million residents. Beijing is a major transportation hub, with dozens of railways, roads and motorways passing through the city. It is also the focal point of many international flights to China. Beijing is recognized as the political, educational, and cultural center of the People's Republic of China,while Shanghai and Hong Kong predominate in economic fields.The city hosted the 2008 Olympic Games.
Beijing opera or Peking opera (京剧) is a form of traditional Chinese theatre which combines music, vocal performance, mime, dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing Dynasty court and has come to be regarded as one of the cultural treasures of China. Major performance troupes are based in Beijing and Tianjin in the north, and Shanghai in the south.The art form is also enjoyed in Taiwan, where it is known as Guoju (国剧). It has also spread to other countries such as the United States and Japan.[
Beijing opera features four main types of performers. Performing troupes often have several of each variety, as well as numerous secondary and tertiary performers. With their elaborate and colorful costumes, performers are the only focal points on Beijing opera's characteristically sparse stage. They utilize the skills of speech, song, dance, and combat in movements that are symbolic and suggestive, rather than realistic. Above all else, the skill of performers is evaluated according to the beauty of their movements. Performers also adhere to a variety of stylistic conventions that help audiences navigate the plot of the production. The layers of meaning within each movement must be expressed in time with music. The music of Beijing opera can be divided into the Xipi and Erhuang styles. Melodies include arias, fixed-tune melodies, and percussion patterns. The repertoire of Beijing opera includes over 1,400 works, which are based on Chinese history, folklore, and, increasingly, contemporary life.
In recent years, Beijing opera has attempted numerous reforms in response to sagging audience numbers. These reforms, which include improving performance quality, adapting new performance elements, and performing new and original plays, have met with mixed success. Some Western works have been adopted as new plays, but a lack of funding and an adverse political climate have left Beijing opera's fate uncertain as the form enters the 21st century.