Its level is divided into five sections: 1. Looking forward to the husband; 2. Picking up the sister; 3. Inviting the brother; 4. Dressing up; 5. Pushing the cart. The dramatic contradictions in this play are not prominent. It is just because the characters are afraid of gossip and avoid being heard, and the performance of their temperament is touching people's hearts. It does not focus on strong conflicts, but makes the characters' personalities distinct and deeply imprinted with the regional humanities. In terms of language, this feature is even more emphasized. For example, the lyrics of the second sister's appearance: "... I just said that I will love you forever, and a steel knife fell out of thin air. The steel knife kept cutting the lotus roots, and it also planted the chopped willows. People should not be ignorant and get too hot. "You Tian. If I were not a boudoir girl, I would be scolded for three days while sitting in front of the door..." It shows the hot and crisp personality of Hubei women, which also includes femininity, purity and intelligence. Another example is the words Yu Laosi and Miao Laosan used when they met each other: The fourth brother: Third brother, open the door! The third child: Who is calling the door? Don’t knock down the two boards. Fourth child: It’s broad daylight, what are you doing with the door closed? Open the door! The third child: Oh, it’s the fourth child. Stop shouting. There’s no one in the room. Fourth child: No one has a mouth to speak. The third child: People are watching for a while, just keep your mouth shut and cover the door. Fourth child: If there is a mouth, there must be someone. The third child: Hey, you are quite smart. You know that where there is a mouth, there must be someone. That doesn’t mean you need someone to open the door. This kind of humor that talks about what is right and wrong seems to be an exaggeration of the argument, just like a "talk show", with a series of "revelations". It also expresses the simplicity, wit and freedom of Hubei people's character. The music of the play is mainly in minor keys, using [Yingshan tune], [Pushcart tune] and [Kanxiang tune], etc., and is presented one by one in the form of solo, duet, duet, and chorus. Its opera dances are particularly outstanding, including braid dance, umbrella dance, fan dance, cart dance and so on. Among them, the "Push Cart Dance" draws on materials from dramas such as "Double Delivery of Food" and "Three Exchanges of Shoulders", and integrates folk cart dances to create "three steps", "four steps", "four steps", "up to the top" ", Downhill" and other dance steps, coupled with its rich local flavor, have been included in the "Collection of Chinese Folk Dances". This prompted the play to improve its costumes and avoid the shortcomings of realism. The famous dramatist Mr. Ajia commented this way: "There are only three people performing in "Catching the Meeting". One is an old farm worker who pushes the cart; one is a young farmer who pulls the cart; and a peasant girl rides in the cart. The girl and the young man are in love. The old man was kind enough to make fun of them. This play is very dance-oriented, and the three people are in very gorgeous costumes, singing and dancing, talking and laughing; there is no problem with this kind of artistic exaggeration, it looks very beautiful and harmonious. It not only allows us to see life, but also is attracted by this lively and lively artistic style. After watching this play, we are reminded of a very beautiful picture, which draws us into the painting environment. Because of this artistic style, we chose the appropriate scene. The theme is so harmonious." (Ajia·"Collection of Opera Performances" p166·Shanghai Literature and Art Publishing House) In short, "Jian Hui" is a play praised by the industry. At the same time, it is also the most enthusiastic performance so far and is deeply loved by the audience. traditional plays.