Several problems about the reform of traditional Chinese opera

With regard to the modernity and modernization of China's traditional operas, we need to further strengthen our understanding, practice, discussion and problem solving. In theory, many of us are still spinning around at the starting point in understanding the connotation of modernity in traditional Chinese opera and grasping the degree, methods and means of the relationship between modernity and modernization. There is also a lack of systematic exploration and experiment in creation, which can not provide support for the complete framework of theory. To solve the problem of drama modernization, the premise is to accurately grasp the connotation of drama modernity; The key is to recognize the relationship between modernity and modernization of traditional Chinese opera; Accurately grasping the relationship between modernity and modernization of traditional Chinese opera is its core essence. There is no discussion here, just a discussion about introducing the reform of Tian Han's opera.

In the theoretical legacy of Tian Han's drama reform, the discussion on drama modernization includes the implementation of the director system, the creation of modern drama, the contemporary popularization of drama, and the role of new literary and art workers in drama modernization. Times have changed, and new situations, new problems, new understandings and new solutions have emerged one after another, but this does not affect us to review the significance of these words in combination with the current practice and theoretical thinking of opera creation and performance.

1. Tian Han advocates the modernization of opera and the system of directing opera.

Long before the founding of New China, Tian Han repeatedly called for the modernization of traditional Chinese opera (then called "old opera"), pointing out that traditional Chinese opera could not be preserved as an antique of the past [1]. In Tian Han's view, to make China opera "a brand-new modern thing, it will make brilliant contributions to the new world drama culture". [2] After the founding of New China, Tian Han was the leader of China's opera reform and modernization, and formed a complete idea of "changing drama, replacing people and restructuring". These discourses all contain Tian Han's understanding of the modernity of China's operas, as well as the process and ways to realize modernity. Modernity is the product of historical progress, which can bring happiness to human beings, so human beings must choose and pursue modernity, so there is a modernization movement to obtain modernity. China's traditional operas naturally face the problems of modernity and modernization. Tian Han is the voice in the traditional ecology of Chinese opera. The inheritance is orderly, the actor foundation is solid, and the business is neat; Performances are mostly in the historical stage of benign drama production and consumption under the real relationship of market-oriented viewing and performance. Putting forward the idea of drama modernization is not only to transform and improve drama as an important missionary tool, but as a great artist with a sense of history, nationality and global consciousness, his exposition must reflect a kind of cultural consciousness, which is full of cultural self-confidence and cultural responsibility.