First of all, it is reflected in the antiquity of China's traditional operas.

China's traditional operas, ancient Greek tragicomedy and Indian Sanskrit are listed as the three major ancient dramas in the world.

The ancient Greek tragedy, which originated in the 6th century BC, is the childhood of human drama, and it has the brilliance that we have talked about so far. But this brilliant drama ended at the end of the 2nd century BC.

Indian Sanskrit drama has existed for a long time, but the existing scripts can be traced back to 1-2 century. By the 12 century, with the decline of Brahma's classical literature, Brahma in India also died out.

Three major theatrical performance systems in the world:

Stanislavski's Soviet-Russian drama performance system refers to a drama performance system that is scene-oriented, simulates real scenes and creates illusion of life.

Brecht performance system in Germany: it refers to a drama system that regards the stage as a flowing space, with no scenes and performances, and enables actors to communicate with the audience (the so-called "separation effect" between actors and roles), which has certain philosophical significance.

Mei Lanfang's Chinese opera performance system is a drama performance system with both form and spirit (that is, freehand brushwork).

Secondly, it is reflected in the fact that its development process is completely opposite to that of European drama.

European drama takes the road of gradual differentiation and independence of various artistic factors. European drama originated first, and ancient Greece held a ceremony of offering sacrifices to Dionysus every spring and summer. In spring, Ode to Dionysus and in winter, there are costumes, songs and dances. After the 6th century BC, after the reforms of Aeschylus, Sophocles, euripides and others, the role of song (dance) teams gradually decreased, and the functions of dialogue and performance gradually strengthened, forming a drama form with dialogue and external body movements as the basic means, and the language of poetry was gradually replaced by imitated life language. Poetic drama is transformed into drama. Differentiated singing and dancing has become an independent new form such as traditional Chinese opera and dance drama.

During the development of China traditional opera, dramatic elements gradually increased, which not only integrated the main artistic factors such as singing, dancing, speaking and acting, but also absorbed and integrated the emerging skills at that time at any time on the way forward and became a part of the complex.

Thirdly, it is reflected in the richness and profundity of China's operas.

Ancient Greece generally divided art into five categories, namely music, painting, sculpture, architecture and poetry. Aristotle's Poetics involves epics and tragedies. In fact, drama has many artistic elements such as poetry (literature), music, painting, sculpture, architecture, dance, etc., and it is gradually recognized as an independent art and a comprehensive art, and the characteristics of this comprehensive art of drama are more prominent. There are not only poems, music, paintings, dances, rap, acrobatics, martial arts, but also magic and gymnastics in China's traditional operas. ...

Art: literature (poetry), music, painting, sculpture, architecture, dance, drama, film, radio and television.

Drama is called "the seventh art"

Fourth, it is reflected in its unique appearance.

It is often impossible to define China's drama with western drama theory and system. According to traditional customs, western drama theory only refers to drama, opera and ballet, not included. Opera is classified as a music discipline, and ballet is classified as a dance discipline. Therefore, westerners think that this form of China opera is very strange and irregular. They have long been reluctant to call Beijing Opera "Peking Opera".

First of all, it is reflected in its comprehensiveness.

Mr. Wang Guowei said: Chinese opera is "singing, dancing and telling stories".

Singing: it is the main way for characters to express or describe their inner feelings in traditional Chinese opera performances. According to different operas, different musical forms are adopted.

As far as lyrics are concerned, they can be generally divided into two types: one is Qupai style, such as Kunqu Opera and Gaoqiang; One is banqiang opera, such as Beijing opera, Pingju opera and various bangzi operas.

Nian: It is the general name of dialogues or monologues between characters in China traditional opera performances, and it is a poetic and musical drama language. Beijing opera is divided into Beijing white and rhyme white, and Kunqu opera uses rhyme white or Su white.

Zuo: It is the general term for the performances of China traditional opera actors in terms of figure, expression, style and manner.

The production of Chinese opera is mostly stylized movements, mostly freehand brushwork.

Fighting: Also known as "open fighting", sometimes it is a fight between two people, while others are scenes of collective war. The opening of Chinese opera has strong dancing, stylization and expressiveness, and it is also freehand brushwork rather than realism.

Secondly, it is reflected in its freehand brushwork.

The so-called "play on the actors".

Compared with life language and action, the action of traditional Chinese opera performance is deformed, strengthened (exaggerated) and beautified.

Tables and chairs on the stage of traditional Chinese opera have different meanings according to their different uses. Sometimes tables and chairs are tables and chairs, such as studio, study room, government affairs hall, golden hall and other environments.

Sometimes tables and chairs are not tables and chairs, but tables can be beds and mountains; Chairs can be used as kiln doors and wells.

Tables and chairs specifically refer to the decisive actor's performance. To some extent, it can mean everything.

On the whole, the symbolic meaning of Facebook is "red loyalty and white treachery", so traitors like Cao Cao are more white-faced, and brave people like Guan Yu are more red. In addition, grumpy people are often blue-faced, honest and selfless people are often black-faced, happy people smile, sad people cry. The face is bright, everyone is vivid, and the audience will know this person when they see the face. This is the simple side of opera, but also the image side.

China opera costumes are mainly in Ming and Qing Dynasties, and some changes are made according to the dynasties that show stories. Its freehand brushwork is manifested in ignoring the characteristics of costumes such as seasons, times and regions, and only considering whether opera costumes meet the identity, status and age related to characterization.

Traditional Chinese opera costumes should be not only decorative, but also dancing, and play their due role in shaping characters. In traditional Chinese opera, sleeves, flags, big belts of arrow clothes, hat wings of gauze hats and thick soles on feet all have the characteristics of dancing, and they all participate in the shaping of characters.

On the stage of China traditional opera, we can use a "circus" to represent the change of position, and we can use a "three shots in a hurry" qupai to express a rich content that has been mentioned before, that is, "everything is short"; (Urgent three shots are widely used. Usually drinking, reading letters, small scenes. The civil and military officials went to court and returned to the people. The general reported the news at the scene. You can use this qupai. )

On the opera stage, you can also use the 20-minute "adagio" to express the inner feelings of the characters; It is also possible for a general to express his joy after winning with a long performance of "gun flower" or "knife flower". This is a "long story", because these contents are conducive to characterization and plot performance.

Third, it is reflected in stylization.

The original intention of the program is rules, norms and French; Establish a quasi-formula and standardize the law, which is called procedure. In other words, the program of traditional Chinese opera is a standardized performance form and routine.

"practice three or nine in winter and three volts in summer",

The saying "one minute on stage, ten years off stage" is about the complexity and arduousness of traditional Chinese opera skills and the difficulty of training.

We must master the principle of "if you want to be left, you must be right first, if you want to go up, you must be released first, if you want to be light, you must ring first, if you want to be slow, you must be inclined first, if you want to be short, you must be high first, and if you want to float, you must sink first".

Stylized [four skills and five methods: singing, reading, doing, playing, hand, eye, body, method and step]

The five pillars of Islam: singing, reading, doing, playing and dancing.

Read: For example, in the Lost Street Pavilion, Ma Su, the Prime Minister, received a salary increase, and four generals, Zhao Yun, Ma Dai and Wang Ping, signed up quietly, but Ma Su's registration was very publicity. He typed the word "horse" very long, added two words "haha" and the word "Kuang" suddenly closed. I bit my mouth hard and shook my head, feeling complacent.

This release, closing and flashing conveys at least three messages:

First, willfulness, character determines fate;

Second, Masu is a role in this drama, and he is qualified to "put a score";

Third, show the actor's skill and the power of mouth.

It is also very interesting for Wu Shu to sign up for "Picking Chinese Cars". You can't miss one of his titles: "Lonely, the four princes in the big gold list swept the Song Grand Marshal Changping Wang Yuxi, and Yan Yanzong won the emperor Wu Shu!" Lively and colorful, in one go, with considerable self-esteem, self-confidence and self-satisfaction.

It tells the audience that Marshal Yue's opponent is serious and implies that the battle he faces will be very sinister. Strengthening the weight of the opponent also increases the weight of the hero.

Yang Xiaolou said in Farewell My Concubine: "Wine-Come!" The silver bottle suddenly cracked and burst, the voice of the overlord stirred, and the feeling of the hero's end was touching. Don't say that Yu Ji was heartbroken when he heard the news. As soon as I listen to the recording (just audio-visual), I will have a cold war.

There are only two words here, and the theater effect is by no means worse than reading the monologue of 1800 words. This is what the ancients called the expressive force of "cherishing ink like gold"-it makes you feel a lot, not just listening and watching a lot.

Performance realization method

1, carpet technique: refers to the skills that traditional opera actors should master, such as "grabbing back", "hanging hair", "tiger leaping" and "somersault".

2. Waist and leg skills: refers to the waist and leg skills that opera actors should master, such as "bending", "washing waist", "kicking" and "wasting legs".

3. Bullet shooting: refers to the kung fu required by Chinese opera actors to express their emotions with the "bullet shooting" worn on their heads, which is generally used in situations of grief and panic.

4. Zi Ling Kung Fu: refers to the kung fu in which a small opera actor uses Zi Ling on his head to express his fixed emotions, which generally includes "ringing the bell" and "pulling the bell".

5. Word-of-mouth: refers to the skills that traditional opera actors use beards to express their emotions, such as "reasoning", "shaking" and "picking".

6. Sleeve skills: refers to the skills that dancers need to express their feelings by using "water sleeves" in traditional operas, such as "shaking sleeves", "turning sleeves" and "lifting sleeves".

7. Fan skills: refers to the skills required by opera actors to use fans in their hands.

You should understand the doorway of "virtualization of national drama" when watching drama.

The virtuality of spatial rheology;

The stage of national drama is a flowing space, and the characters are constantly going up and down, which also shows the changes of time and place. The expression method of time change lies in the virtuality of time, which is explained to the audience by actors' singing and performance. The change of place, that is, the change of space, is realized through the "circus" of actors. When an actor walks half a circle or one or more circles on the stage, it means that people have gone from one place to another, no matter how far or how close the two places are, it is enough to walk in the circle.

Virtualization of the surrounding environment:

The virtual usage of the surrounding environment on the opera stage is the most, because the performance principle of the opera stage is to express as much content as possible with the simplest scenery and devices, so the surrounding environment is mostly outside the scope of stage performance, and they are mostly vague, and the actors' behavior and singing "explain" the living environment of the characters. And the reproduction of this virtual environment also needs the imagination of the audience.

The virtuality of time:

Time on the stage of traditional Chinese opera is flexible and free, and it is a virtual life time. Some time is deliberately prolonged, such as a general playing with a gun or a knife after defeating the enemy. Is to lengthen the time or temporarily stop the time to show the happy mood of the characters to defeat the enemy. Some time is deliberately shortened, such as singing one or several paragraphs to express the past night, and omitting unnecessary confession with the tune of "three shots in a hurry" Sometimes it is an assumption of time, such as "San Cha Kou", which shows the night on a brightly lit stage.

Virtualization of action objects:

The actions of characters on the stage of traditional Chinese opera sometimes have action objects, and sometimes they can be omitted. Some of them are omitted. For example, if a character goes up the stairs, he just lifts his clothes and legs upstairs, but the stairs are not. When people open the window, the window is also omitted. Some are partially omitted, such as the figure of riding a horse, which is omitted, but there is still a whip; People sail, boats and water are omitted, but there are paddles. This is the expression of the simplicity and virtual characteristics of China traditional opera.