Introduction of Traditional Opera Schools in China

The group phenomenon of dramatic style. Usually, marked by one or two dramatists with distinctive styles, a group of dramatists with similar styles consciously gather together artistically and academically in the form of organization, or consciously or unconsciously show the same creative tendency due to the influence of social artistic fashion in a certain historical period, and echo each other, thus forming a drama school with social influence. Drama schools mostly came into being in the period when drama thought was relatively free and drama career was relatively prosperous.

There are many forms of drama schools, and their conceptual categories also have many different levels.

Drama schools marked by important drama ideas and methods of drama creation in the history of drama are sometimes called ideological trends, such as European classical drama and romantic drama, realistic drama, naturalistic drama, symbolism drama, expressionism drama, futuristic theatre, surrealism drama, existentialism drama, absurd drama and avant-garde drama. These drama schools have their own social and historical background and are directly related to specific social ideological trends and philosophical concepts. Most of them appear as representatives of various continuous and important creative methods in the history of drama, which generally cover a wide range and include more playwrights.

Another drama school, with a smaller concept category, is mainly marked by specific drama concepts and specific artistic expression methods. For example, within the scope of realistic drama, there are two schools of performing arts, namely, experientialism and expressionism, and the coexistence of Stanislavsky system and Brecht narrative drama. Among the Ming Dynasty dramatists in China, Linchuan School represented by Tang Xianzu, Wujiang School represented by Shen□ and Kunshan School represented by Liang Chenyu appeared. These drama schools with obvious drama concepts and methods, even if they are openly controversial, do not necessarily have fundamental differences that can produce sharp opposition in the social and historical background.

The smaller drama school in the concept category is produced in the actual drama activities, which has strong contrast and competition. Most of these drama schools are marked by the protagonist, and they are performance entities that realize the protagonist's personal style. The "flow" and "seat" of various artistic abilities established through fierce disputes in the field of Japanese classical drama belong to this drama school. In the field of China opera centered on actors, this kind of drama has a broad soil. For example, Beijing Opera is famous for its various genres. This drama genre often presents a state of differentiation and integration in the actual development process.

Any type of drama has a specific audience. A certain drama school develops and strengthens an appreciation habit among a certain audience, which in turn supports the existence and development of drama schools. The corresponding relationship between drama schools and their own audiences is relatively stable, but it will also change under certain conditions. When the historical progress and the impact of new social thoughts make the audience's aesthetic habits change greatly, or when the drama genre itself is tired of long-term solidification, this correspondence will relax or even disappear. On the contrary, some drama schools will attract more and more audiences for various internal and external reasons, making this correspondence closer and wider.

Drama schools have a historical heritage. Due to the different nature and social and historical conditions of drama schools, the ways of inheritance are also different. Some of them were passed down by the family and learned from the stratum, some were specially supported by the feudal court, and some of them influenced the natural spread by their own art, thus causing spontaneous attachment and inheritance.