Any art form should develop with the development of the times, otherwise it will lose its original vitality and fall into a stagnant situation. In recent years, with the change of audience and people's aesthetic taste, the art of traditional Chinese opera has been paid less and less attention. Most troupes are faced with a heavy burden and difficult survival; Brain drain, no successor; The number of operas has dropped sharply and the loss is serious; The award-winning play was left out in the cold. Only by innovating the development mechanism of opera, formulating policies to support the development of opera and creating an atmosphere for the development of opera can opera develop and have a way out.

Keywords drama; Dilemma; Reason; export

China traditional opera has a long history. After hundreds of years of development and improvement, it has not only formed an extremely beautiful artistic form and perfect performance skills, but also has a unique artistic style. However, any art form should develop with the development of the times, otherwise it will lose its original vitality and fall into a stagnant situation. In recent years, with the changes of audience and people's aesthetic taste, the art of traditional Chinese opera has also undergone some reforms and innovations, but there is still a certain gap with the requirements of the spiritual culture of the times and people's aesthetic concepts, resulting in a large loss of audience, and the art of traditional Chinese opera has been paid less and less attention. The situation that China traditional Chinese opera dominated the world in the past no longer exists. Then, how can China traditional opera win the audience, occupy the audience and occupy its own place in the colorful art forms, so as to realize the synchronous development with the times? This paper attempts to put forward corresponding countermeasures by analyzing the difficulties faced by traditional operas and their causes.

1 The Dilemma and Causes of Current China Opera

Most theatrical troupes all over the country are facing great difficulties: first, they are burdened with heavy burdens and are struggling for survival. Most theatrical troupes were established under the planned economy system from 1950s to 1960s. After the reform and opening up, the original government's full funding was changed to balanced distribution, and many theatrical troupes were short of funds, making it difficult to improve the living conditions of art producers and cast members, and it was even more difficult to create new plays. As a result, poorly managed academies and regiments have been dissolved and it is difficult to maintain. Liu Wenfeng, who once presided over the national key scientific research project "Investigation on the Present Situation of National Drama Troupe", said: "In our investigation, prefecture-level and county-level are the key targets. About half of the more than 200 troupes surveyed in China are county-level troupes, and 80% of all troupes exist in name only, or they are privately contracted to give up their original operas and perform various commercial performances; Either because there is no innovative funds, it is difficult to move forward and it is in a state of half-death. " . As early as 1950s, every county in Huai 'an had a troupe. There are four major operas in Lianshui alone: Huai Opera, Huaihai Opera, Peking Opera and Yue Opera. At present, there is only one performing group in Lianshui County-Huai Opera Troupe. (3) The second is brain drain, and there is no successor. The training period of traditional Chinese opera talents is long and the cost is high. It is much more difficult to train a traditional Chinese opera talent than a singer. Generally speaking, we should learn to practice from the teens, from singing, doing, reading and playing. Without more than ten years of hard work, it is difficult to become a talent. Generally speaking, a good actor can't get ahead until he is in his twenties, but he can really become an artist at least until he is in his thirties. At present, the troupe can't afford the training fee, which affects the enthusiasm of art colleges to cultivate local quyi talents. Artistic talents are young and yellow, and the main support for the situation is the old actors over 40 years old. In particular, local opera work is hard and tiring, with poor working environment and poor living conditions. It is difficult for many cast members to settle down, and many people find another way out, resulting in a serious brain drain and a shrinking art team. Wang, winner of Plum Blossom Award for Drama and outstanding actress of Puxian Opera, recently resigned. When she left the group, she choked up: "In order to survive, I ran around in the grass all the year round. The older you are now, the worse your health will be, and there will be no guarantee for the rest of your life. I can only make a living. " (4) Art schools are also depressed. Mao, director of Shanghai Shanghai Theatre, pointed out that there is a serious gap in the training of local opera talents. "Enrollment difficulties. The treatment of opera actors is poor, and parents are generally reluctant to let their children learn drama. " 5] Yancheng Drama School once encountered such a situation when enrolling students for drama table major. Only three students signed up for school, and the school had to let students choose other majors because they could not become classes. Third, the number of operas dropped sharply and the loss was serious. From 368 operas in the 1950s to 3 17 operas in the early 1980s to 267 operas in 2005, 50 years 1 opera has become history! Only in Shanxi, a major province of traditional operas, the number of traditional operas has dropped from 49 in 1983 to 28 at present. This means that in the past 20 years, only one Shanxi has disappeared every year on average. Many traditional opera arts have not only gradually withdrawn from the urban literary stage, but also the rural performance market is shrinking. In the late 1950s and early 1960s, there were more than 15600 kinds of traditional plays and 100 kinds of excavated qupai in Fujian alone. [6] Only a few of these plays and qupai have been compiled and printed, and quite a few of them have been hollowed out by old artists' boxes, or stored in the memories of old artists, or scattered abroad, and they cannot be collected and purchased due to lack of funds, so they can be properly protected. Fourth, the winning plays were left out in the cold. Many award-winning plays, such as Plum Blossom Award, Wenhua Award and Five One Project Award, which cost hundreds of thousands of yuan and millions of yuan, have been well received by experts in big cities, but have been left out in the grassroots performance market.

Why is this happening? As far as opera itself is concerned, firstly, the development of opera can't meet the needs of the times. Every era has its own cultural forms and entertainment methods that meet the requirements of the times. At the beginning of its formation, traditional Chinese opera also complied with the requirements of the times and met the needs of social development and people's cultural appreciation and entertainment. In the long history, society is changing, culture is changing, the demand for appreciation is changing, the way of entertainment is changing, and everything is changing. In these hundreds of years, traditional Chinese opera is also changing quietly to meet people's appreciation needs. Music, singing, chanting, clothing, stage, lighting and so on are all changing little by little. It can be said that without change, there would be no drama today. However, in the past 20 years, great changes have taken place in society, and the social form has gradually moved from a farming society to an era of industrialization and informationization. It can be said that we are in an era of great social change. Faced with this unprecedented change, the art of traditional Chinese opera seems a little confused and helpless. Although local operas are also changing to meet the requirements of society, they are looking for new ways of existence in the transition to marketization. However, its changing process lags far behind the requirements of the times, and the performance, dissemination and inheritance of various operas also lag behind the needs of the times. Second, there is not enough publicity for opera. Many industries in modern society have gradually formed their own set of reasonable and perfect marketing concepts. Traditional Chinese opera is also a commodity, which needs publicity and packaging. However, our opera is still in a vague stage in this respect. We are weak in spreading our ideas through the media, and we can hardly see the spread of operas around us. We lack smooth and fast performance information channels. Due to the lack of funds and simple and weak propaganda methods, there is a lack of communication between the local opera art and the public. Third, the troupe system is not perfect. Many literary and art groups in China were established in the early days of the founding of New China, when the state implemented a planned economic system. After the reform and opening up, China's system has gradually changed to a market economy system. After more than ten years of transformation, many industries have done well in the market economy, while the traditional Chinese opera industry still retains the precipitation of the planned economy era because of its uniqueness. Many ideas are under the planned economy system, and the marketization of the mechanism is imperfect and lacks initiative.

The influence of social environment on China traditional opera. Since 1980s, great changes have taken place in society. The rapid development of society and the rapid changes of the times are unexpected. World culture and foreign ideas are impacting people's horizons and shaking people's minds. The transition to marketization in the 1990s has made us see a more colorful and diversified society with highly developed media and extremely rich entertainment. With the advent of the information age, people's concepts, lifestyles and appreciation habits have undergone fundamental changes, and the demand for entertainment is also very different. It is an obvious phenomenon that entertainment is diversified, choices are diversified, and appreciation needs are diversified. Many emerging entertainment methods and entertainment projects occupy people's lives. In the past, the entertainment and educational functions of China traditional drama were quickly marginalized. In the face of many emerging cultures, traditional opera can only be regarded as one of people's many choices, and new things have many advantages, so under the extrusion of many new things, traditional opera is inevitably left out in the cold.

2 the way out for the development of China traditional opera

1. Innovating the development mechanism of traditional Chinese opera. Make full use of the market mechanism, intensify the reform of local operas, and effectively develop opera as a cultural industry. In addition to the government's policy and financial support, it is also necessary to mobilize all sectors of society to revitalize opera. On the one hand, it is necessary to mobilize and encourage enterprises and entrepreneurs who love opera to participate in the reform of the college league and enliven the management mechanism of the college league. On the other hand, the troupe is encouraged to marry with enterprises and famous brands, give full play to the star effect and the role of opera brokers, and organically combine the economic benefits of troupe and enterprises with the social benefits of opera, so as to make the opera develop healthily and smoothly. At the same time, it is necessary to innovate the talent training mechanism. It is necessary to incorporate drama into basic education, organize the compilation of local teaching materials introducing local drama, popularize the knowledge of local drama, increase the relevant content of local drama in music classes in kindergartens and primary and secondary schools, and cultivate opera audiences from an early age. Strengthen the contact and cooperation between theatrical troupes and universities. On the one hand, with the help of colleges and universities, undergraduate and postgraduate courses and various opera seminars are organized to train actors, screenwriters, directors, composers and opera theory researchers. On the other hand, it is to cultivate a new generation of opera audiences. College students have good cultural quality, and some have high literary attainments, so they will have a strong interest in traditional arts and elegant arts such as opera. Therefore, traditional Chinese opera troupes should establish a mechanism of regularly touring universities, and universities should also offer traditional Chinese opera courses and lectures, so that a large number of college students can be influenced by traditional Chinese opera art during their school days. These college students will be distributed in all walks of life in the future, and their influence can win more audiences for opera.

2. Formulate policies to support the development of traditional operas in China. It is far from enough to develop and revitalize China traditional opera only by relying on the efforts of artists. Fundamentally speaking, policy is the key. We must formulate relevant policies to adapt to the market economy environment and promote and support the development of traditional Chinese opera: First, rescue policies. The urgent task is to carefully record and preserve the stage art of some famous performing artists through video and audio recording. Many local opera artists left no audio-visual materials when they were alive. Many excellent traditional operas and superb performing arts were lost with their death. In a few years, I'm afraid it's too late to save. It is suggested to establish a research fund for the protection and development of local operas, which can be used to start and promote the excavation, sorting and processing of local operas, record and video for famous old artists, edit and publish excellent traditional operas, protect and develop local operas, and reward those who have made outstanding contributions to the protection and development of local operas. At the same time, the protection and rescue is not to turn the place into a "museum" art, but to pass on the excellent repertoire and excellent art of local operas to the younger generation through the teaching of old artists. The second is the development policy. It is suggested that party committees and governments at all levels should establish local opera development funds, and pay attention to subsidizing local opera production, performance subsidies, personnel training, excellent operas and awards for outstanding actors. Increase investment in key plays, and implement government procurement and project bidding for key art products. Implement performance subsidies. After determining the number of performances of the troupe, the government will give appropriate subsidies to each performance to activate the performance market and encourage the troupe to face the countryside and the grassroots.

3. Create an atmosphere for the development of traditional Chinese opera. Many people don't know China traditional opera, and one of the important reasons is that the publicity is not enough. Why Hong Kong and Taiwan singers and American blockbusters are so popular and the ticket prices are so high that everyone is still rushing to watch them, mainly because of media hype. Many audiences don't dislike the performing arts, but don't understand them. Suzhou Kun Theatre made an attempt. The youth version of Peony Pavilion, which they rehearsed, was sponsored by sponsors and toured among universities. Students only need to spend 10 yuan to see the art that usually costs about 200 yuan. During the performance in Tsinghua University, teachers and students reacted strongly. Many people think that our country still has such beautiful performing arts. At present, the troupe is performing in the United States. We should make full use of the power of the news media, open up opera columns in TV stations, radio stations and newspapers, and vigorously publicize operas, famous operas and their life. It is necessary to enrich the content of local operas on local cultural websites, introduce various schools, vocals and actors in detail, and provide video-on-demand of famous segments to create a good atmosphere for the development of local operas, expand the influence of operas and cultivate new audience groups.