Opera stage 1, the origin and formation of opera; 2, several more common types of opera (Beijing opera, Yueju opera, Yu opera, Huangmei opera, etc.); 3, Beijing opera (line)

Kunqu, also known as "kunqiang", "kunqu", is an ancient type of opera. It originated in Kunshan, Jiangsu Province, and began to flourish after the middle of the Ming Dynasty, when most of the legendary plays were sung in Kunqu. In addition to Southern Kunqu, which maintains the characteristics of early Kunqu, many branches have been formed throughout the country, such as Kunyi, Xiangkun and Chuankun in the north. The style of Kunqu is clear, soft, delicate and lyrical, and the performances are full of songs and dances and strict programs, which are representative of Chinese classical opera.

2. Gaoqiang

Gaoqiang is a general term for a kind of vocal system of opera. It was originally known as "Yiyang Cavity" or "Eagle Cavity" because it originated in Yiyang, Jiangxi Province. It is characterized by simple performances, popular lyrics, high-pitched and exciting singing, a person singing and all the people, and only using golden drums to beat the rhythm, without orchestral accompaniment. Since the middle of the Ming Dynasty, it began to spread from Jiangxi to all parts of the country, and formed different styles of Gaoqiang everywhere, such as Sichuan Opera Gaoqiang, Xiang Opera Gaoqiang, Gan Opera Gaoqiang and so on.

3. Bangkang Cavity

Bangkang Cavity is a general name for a kind of vocal system of opera. It originated from the "Shan-Shaanxi Opera" at the border of Shanxi and Shaanxi, characterized by high-pitched and exciting singing, with wooden bangs hitting the knuckles. Then, it developed eastward and southward, forming different forms of bangkang in different areas, such as Shanxi Bangkang, Hebei Bangkang, Henan Bangkang, Shandong Bangkang and so on.

4. Peking Opera

Peking Opera, also known as "Pihuang", consists of two basic cadences, "Xipi" and "Erhuang", which make up its musical material. It is composed of two basic tunes, "Xipi" and "Erhuang", and also sings a number of small local tunes (such as liuziqiang and blowing accent) and Kunqu opera songs. It was formed in Beijing around 1840 and flourished in the 1930s and 1940s, when it was known as the "National Opera". Nowadays, it is still a big opera with national influence. It is a representative of modern Chinese opera, with its comprehensive lineage, mature performances, and grandeur.

5. Evaluation Opera

Evaluation Opera, formed in the late Qing Dynasty on the basis of the small song "Counterpart Lotus Flower" in Luanxian County of Hebei Province, was first popular in the rural areas of Hebei Province, and then entered Tangshan, known as "Tangshan Lokzi", which became popular in the northeast region in the 1920s, with the emergence of a group of female performers. After the 1930s, under the influence of Peking Opera, Hebei Opera and other styles, the performance of Pingju Opera became more mature, with the emergence of schools such as Bai Yushang, Xi Cailian and Ailianjun, etc. After 1950, plays such as Liu Qiao'er, Flower as Matchmaker, Yang Sanjie's Complaint and Qin Xianglian had a great influence on the whole country, and famous performers such as Xin Fenghia, Bai Yushang Jr. and Wei Rongyuan appeared. Famous actors such as Xin Fengxia, Xiao Bai Yushang and Wei Rongyuan appeared. Now the opera is still popular in Hebei and Beijing

6. Hebei Opera

Hebei Opera

Hebei Opera, that is, the opera popular in Hebei and Beijing, originated from Shan-Shan Opera at the junction of Shan-Shan and Shaanxi, and then spread to Hebei through Shanxi, and was formed by combining the dialects of Hebei and Beijing. It maintains the characteristics of the clapper cavity with the banging and beating of the knuckles, and the singing voice is soaring and agitated that it is good at performing tragic plots. Famous plays of Hebei Opera include Butterfly Cup, Regulator Chopper, Du Shiniang, etc.

7. Jin Opera

Jin Opera, also known as "Zhonglu Bangkas", was developed from Shan-Shan Bangkas in the border of Shanxi and Shaanxi, and was formed by combining the language characteristics of Shanxi. It is now popular in central Shanxi, Inner Mongolia and Hebei. It maintains the characteristics of the clapper clapper with banging knuckles, and the music style is soft and delicate in addition to being high-pitched. The performances are popular and simple. Famous plays include "Playing the Golden Branch", "Small Feast" and "Selling Paintings and Splitting Doors".

8. Pu Opera

Pu Opera, also known as "Puzhou Bangkas", is developed by the Shan-Shaanxi Bangkas in the junction of Shanxi and Shaanxi, which is said to be the original Shan-Shaanxi Bangkas. It is now popular in the southwest of Shanxi and the area of Shaanxi and Henan, and is similar to Qinqiang in sound and Shaanxi dialect in language. Famous plays include Hanging Pictures, Killing Dogs, and Killing Stagecoaches.

9. Shangdang Bangkas

Shangdang Bangkas, one of the four major bangkas of Shanxi, was developed from the "Puzhou Bangkas" of southwestern Shanxi, and is popular in the Shangdang area of southeastern Shanxi. In addition to the clapper, it also sings Kunqu, Pihuang, and Luoluo cavities. The repertoire includes "Three Passes and a Banquet" and "East Gate Meeting".

10. Yan Opera

Yan Opera, also known as "North Road Opera", developed from "Puzhou Opera", is popular in the northern part of Shanxi Province, Zhangjiakou, Hebei Province and Inner Mongolia. It is said to have had a great influence on the formation of Hebei Opera. The repertoire includes "Blood Handprints" and "Jinshui Bridge".

11. Qinqiang

Qinqiang, a local opera in Shaanxi Province, also known as "Shaanxi Bangzi", is the earliest Bangzi opera, which was formed around the middle of the Ming Dynasty. The performance is rough and simple, the singing voice is high and exciting, and its voice is like a roar, which is good at expressing tragic plots. The repertoire includes Butterfly Cup, Turtle Mountain and Three Drops of Blood.

12, two people Taiwan

The two people Taiwan, popular in Inner Mongolia, Shanxi and Hebei Zhangjiakou area of the opera, in Inner Mongolia and Shanxi folk songs and folk tunes on the basis of the formation, and later absorbed the performance of the Jin Opera elements and gradually mature. The performance has a strong flavor of life, and the lyrics are popular. The repertoire is mostly small plays that express the rural life, such as "Going to the West" and "Five Brothers Herding Sheep".

13, JI Opera

JI Opera, popular in Jilin Province, was developed in the 1950s on the basis of Northeast China's "two-people turn", with light tunes, vulgar lyrics, and simple, fiery performances, such as "Yanqing Sells Lines" and "Paogong Compensates for Love".

14, Longjiang Opera

Longjiang Opera, popular in the Heilongjiang region, in the 1950s in the Northeast, "two people", Lafang Opera, shadow play and the local folk songs on the basis of the formation of the performance of light-hearted and humorous, vulgar lyrics. The repertoire includes "Double Locked Mountain" and "Arakudo Baoyu".

15, Yu Opera

Yu Opera, also known as "Henan Opera". It was developed in the late Ming Dynasty by combining Henan dialect and folk tunes with Shan-Shaan opera, and is now popular in Henan, Hebei, Shanxi, Shandong and other provinces. The original Yu Dong tune, Yu Xi tune, Xiang Fu tune, Sha He tune four major schools, now Yu Dong, Yu Xi tune is the main. There have been famous Dan actors such as Chang Xiangyu, Chen Suzhen, Cui Lantian, Ma Jinfeng, Yan Lipin, etc. The repertoire includes Mu Guiying Hanging Up. The repertoire includes Mu Guiying Hangs Up the Marshalship, The Red Queen, Flower Fighting Dynasty, The Pair of Flower Guns and the modern play Chaoyang Gully.

16, Yuezhong

Yuezhong, Henan local theater, popular in Henan and northern Hubei, because of the "four strings" as the main accompaniment, so also known as "four strings". The music is mainly in the form of plate cadences, but also sings the song. Famous actors include Shen Fengmei. The repertoire includes "Collecting Jiang Wei", "Li Tianbao's Invitation to Marriage", and "Zhuge Liang's Hanging of Filial Piety".

17, Henan Qu Opera

Henan Qu Opera, Henan Province, the local theater, popular in Henan Province and northwestern Hubei Province, by the development of the qu art "Henan Quzi". It has a soft and gentle singing style and is characterized by its tragic content. The repertoire includes "The Rolling of the Mat", "Chen Sanliang" and "The Meeting of the Flower Pavilion". （

18, Shandong Opera

Shandong Opera, Shandong Province, the local opera, popular in Shandong Province, around the Heze area, because of its ancient name of "Caozhou", so it is also known as "Caozhou Opera". It is also known as "Caozhou Bangkas" because of its ancient name, "Caozhou". It was formed by the Shan-Shaan Bangkas, which were imported to Shandong through Henan Province, and has undergone changes. The main repertoire includes "The Story of the Wall".

19, Lv Opera

Lv Opera is a local opera in Shandong Province, popular in central Shandong, Jiangsu, and Henan, which was developed in the early 20th century from the folk art of folk singing, Shandong qinshu, and was named Lv Opera in 1950. The performance of Lv Opera is rich in the flavor of life, vulgar and simple, and the singing tunes are simple, easy to learn and easy to sing. Therefore, Lu Opera has a great influence in the rural areas. The repertoire includes "Wang Dingbao Borrowing Pawn", "Xiao Guxian" and the modern drama "Li Er Sister-in-law Remarried".

20, Huai Opera

Huai Opera, a local opera in Jiangsu Province, is popular in Jiangsu, Shanghai and Anhui and other regions. It originated from Jiangsu folk theater, and then absorbed the artistic factors of Huizhou Opera and gradually matured. Its performance is rough and simple. The repertoire includes traditional plays such as "Female Trial", "Three Women Robbing the Board", and new plays such as "The Golden Dragon and the Mayfly"

21. Shanghai Opera

Shanghai Opera, a popular local opera in Shanghai, originated from the folk songs of Pudong, Shanghai, and then formed into Shanghai Tangling tunes, which were influenced by Suzhou Tangling. in the 1930s, it was performed as civilized operas in Shanghai, and was named Shanghai Opera. The repertoire is mostly modern, such as "Crowing and Laughing in Marriage", "Lohan Money", and "Ludang Fire".

22, burlesque

Burlesque, popular in Jiangsu, Shanghai, Zhejiang and other places of the opera. Originated from Shanghai's "one-man show", later developed into a burlesque opera, tunes mixed, comical performances. The main repertoire includes "Sanmao Student's Idea" and "One, Two, Three, March".

23. Yueju Opera

Yueju Opera is a local opera popular in Zhejiang Province. It originated from the "Dudu Class" in Sheng County, Zhejiang Province, and entered Shanghai around 1916, where it was performed under the name of "Shaoxing Literary Opera". The name "Yueju Opera" was used after 1938, and in 1942 the female actors of Yueju Opera, led by Yuan Xuefen, transformed their performance and singing, absorbing the strengths of drama and kunqu, and forming a soft and delicate style of performance. There are many artistic schools such as Yuan (Xuefen), Yin (Guifang), Fan (Ruijuan), Fu (Quanxiang) and Xu (Yulan) schools. The repertoire of Yueju Opera includes "Sisterhood of the Xianglin Sisters", "Liang Shanbo and Zhu Yingtai", "Dream of the Red Chamber", "Five Daughters Bidding for a Happy Birthday", "The Story of the Western Wing", and so on.

24, wu opera

Wu opera, popular in the area of jinhua, zhejiang province, the local theater, also known as "jinhua opera". It is a multi-voiced theater. Its voice cavity consists of Gaoqiang, Kunqu, Tanlong, Hui tune, etc., each with its own repertoire and performance characteristics. The repertoire includes "The Meeting of Monks and Nuns", "The Peony Pairing Class", "Broken Bridge" and so on.

25, Shao Opera

Shao Opera, popular in Shaoxing, Zhejiang Province, Ningbo area of the local theater, formed in the late Ming Dynasty. With "Sanwuqi" and "Erfan" as its main vocal cadences, the opera is characterized by martial arts performances in a rough and simple style. The repertoire includes "Three Beatings of the White Bone Demon", "Dragon and Tiger", and "Hanging the Uncanny".

26, Hui Opera

Hui Opera, popular in Anhui, Jiangsu and other regions of the opera, formed in the middle of the Qing Dynasty, the Department of multi-vocal theater, the main vocal cavity for the plucked, blowing cavity, Erhuang, but also sung by the Kunqu, Gaoqiang and Xipi. 1790, Hui Ban went to the Beijing for the birthday celebrations of Qianlong, and then evolved into the Beijing Opera. The repertoire is mostly historical, such as "Flooding the Seven Armies," which is based on the Romance of the Three Kingdoms.

27, Huangmei Opera

Huangmei Opera, originated in Anhui opera genre, popular in Anhui, Jiangxi and Hubei. Its predecessor was the tea-collecting tune of the Huangmei region, and after the middle of the Qing Dynasty, it formed a folk opera called "Huangmei Tune", which was sung in the Anqing dialect.In the 1950s, under the reforms of Yan Fengying and others, the performance became more mature, and it was developed into a major local opera in Anhui. Famous plays include "The Match of Heavenly Immortals," "The Cowherd and the Weaving Maiden," and "Female Emperor's Son-in-Law," among others.

28, Min Opera

Min Opera, popular in the Fujian region of the opera. Rise in the middle of the Ming Dynasty, the Qing Dynasty has been basically formed, but on a smaller scale. the early 20th century, the influence of Peking Opera is growing in size, the basic voice is complete, including teasing cavity, foreign songs, Jianghu, ditties and five kinds of plate song. The repertoire includes "Refining the Seal" and "Swan Feast".

29, Putian Opera

Putian Opera, Fujian local theater, formerly known as the "Xinghua play", the middle of the Ming Dynasty has fully matured, popular in Putian, Xianyou area. The music is in the form of a song, and the performances are quite ancient and elegantly lyrical. The repertoire includes Zhang Xie Scholar, After the Reunion, and Spring Grass Breaking into the Hall.

30, Liyuan Opera

Liyuan Opera, a kind of opera with a long history, can be regarded as the "living fossil" of opera. It has preserved many southern operas of the Song and Yuan dynasties, such as "Zhu Wen Goes to the Ghost", "Jing, Liu, Bays, Kills", etc. After the 1950s, it organized and performed "Dong Sheng and Li", "Setsubun", etc. It is the first time that a Chinese opera is performed in this area, and it is the only one of its kind in China.

31. Gaojia Opera

The Gaojia Opera, popular in the area of Jinjiang and Longxi in Fujian Province, originated in the middle of the Qing Dynasty, then absorbed the performance factors and repertoire of the Liyuan Opera and gradually grew into a large scale, and then came under the influence of the Peking Opera in the 1920s and gradually matured. It takes clown as its main role, and performs like a puppet with strings, which is very distinctive. The repertoire includes "Rising Three Levels in a Row" and "Jin Kuixing".

32, Gan Opera

Gan Opera, popular in northeastern Jiangxi Province, from the development of the Ming Dynasty Yiyang cavity, by the Yiyang cavity, Qingyang cavity, Kun cavity, chaotic bombing, and a variety of voices composed of a variety of theater. The repertoire includes Dou'e Grievance, The Story of the Thorn Hairpin, The Story of the Pearl, and The Story of the Return of the Soul.

33, tea-picking opera

Tea-picking opera, popular in Jiangxi opera plays, mainly sung by local tea farmers picking tea songs and dances combined with the development of folk songs and dances. Jiangxi tea-picking opera sub-division of East, South, West, North, Medium different paths, each with its own characteristics in the performance. The repertoire includes "Sun Cheng playing wine" and so on.

34, Han Opera

Han Opera, generally refers to the popularity of Hubei, Henan, Shaanxi and other places of the opera, originating in Hubei region, formerly known as the "Chu tune" or "Han tune", the main voice of the West Piqiang, and also sang in the two yellow cavity, so far, has a history of nearly three hundred years. It has a history of nearly three hundred years. The main repertoire includes "Cosmic Frontier", "Erdu Mei", and "Trial of Tao Da". There are also Han Operas in Changde, Hunan Province, and Guangdong Province, which are multi-chambered and very different from the Hubei Han Opera.

35, Xiang Opera

Xiang Opera, the local opera of Hunan Province, is popular in Changsha and Xiangtan, originating from the Yiyang Opera of the Ming Dynasty, and then absorbing the Kun Opera and Pihuang Opera, forming a multi-voice opera including the high opera, the low opera, the Kun Opera, and the chaotic bomb. The repertoire is dominated by high-cavity and chaotic play, such as Pipa Tale, White Rabbit Tale, and Moon Worship Tale.

36, Qi Opera

Qi Opera, also known as "Qiyang Opera", popular in Hunan Qiyang, Shaoyang area, the source of the Ming Dynasty Yiyang cavity, the voice cavity to the main high, and also sang kunqu, playing cavity. The repertoire includes "The Legend of Megilian", "The Legend of Jingzhong", "The Husbandman's Play", "The Guanyin Play", and so on.

37, Hunan Flower Drum Opera

Hunan Flower Drum Opera is a general term for flower drum and lantern operas from all over Hunan, including Changsha Flower Drum, Yueyang Flower Drum, Changde Flower Drum, Hengyang Flower Drum, Shaoyang Flower Drum, etc., which each have a different stage language and form their own style. The performances of the Flower Drum Opera are simple, cheerful and lively, with the line of Xiao Sheng, Xiao Dan and Xiao Clown as the main characters, and long in the use of fan towels. The repertoire includes "Fighting Birds" and "Liu Hai Chopping Woodcutter".

38, Cantonese Opera

Cantonese Opera, popular in Guangdong, Hong Kong, Southeast Asia and other Cantonese-speaking areas. Formed in the early Qing Dynasty, it is a combination of imported voices such as Gaoqiang, Kunqiang, Pihuang, and Bangkang, and local folk music. The music is in the form of a combination of plate cadences and quqiqi. The repertoire includes "Searching the Academy" and "Guan Hanqing".

39, Chiu Chow Opera

Chiu Chow Opera, popular in Shantou, Guangdong, southern Fujian and Taiwan and other regions. It is mainly influenced by foreign imports in the Yiyang opera, the Kun opera and the Han opera, and was formed in the middle of the Ming Dynasty. It has preserved many Song and Yuan works in its repertoire, such as Chen Sanwu Niang, Sweeping the Window Club, and Lulin Club, etc. It is also a favorite of the Chinese opera world.

40, Gui Opera

Gui Opera, popular in northeastern Guangxi and southern Hunan, was formed in the late Ming and early Qing dynasties, with Pihuang as the main voice, and also sang Kun, Gao, and Blow cavity and other cadences. The repertoire includes "Robbing the Umbrella", "Picking up the Jade Bracelet", "The Edge of the Cabinet", etc.

41, Caixiang

Caixiang, formerly known as "Tune" or "Caicha", is popular in the Guangxi region. Formed on the basis of local folk songs and dances, it has a history of nearly two hundred years and was named "Caixiang" in 1955. Its performances are free and lively, rich in the flavor of life. The most famous play is "Liu Sanjie".

42, Zhuang Opera

Zhuang Opera, popular in Guangxi, Yunnan and other Zhuang-inhabited areas of the opera, is divided into two schools of the South Road and North Road. The former originated from the local "bench opera", the main plays are "Wenlong and Shawnee"; the latter originated from the "double reed opera", the main plays are "treasure gourd".

43. Sichuan Opera

Sichuan Opera, a local opera in Sichuan Province, is popular in Sichuan and its surrounding areas. It consists of Kun Cavity, Gao Cavity, Huqin, Bouncing Opera, and Lantern Opera, each of which has its own repertoire. The singing of Sichuan Opera is high-pitched and exciting, and the performances are witty and humorous, rich in the flavor of life. The main repertoire consists of traditional plays such as The Jade Hairpin, The Willow Shade, and Catching Wang Kui Alive, as well as new plays such as Dead Water, Changing Faces, and Gold.

44, Qian Opera

Qian Opera, popular in Guizhou Province, is a local opera, developed from the opera "Wenqin", which is mainly accompanied by the yangqin, with strong local characteristics. The repertoire includes "Zhuniang Langmei" and "Lady Xuxiang".

45, Dian Opera

Dian Opera, popular in Yunnan and parts of Sichuan and Guizhou, a local theater, formed in the late Qing Dynasty. It consists of three kinds of vocal cadences, namely, silk string, Xiangyang tune and Huqin opera, with the silk string cadence being the main one. The repertoire includes "Niu Gao Pulling the Purpose" and "Breaking into the Palace".

46, Dai Opera

Dai Opera, popular in Yunnan Province, Dai settlement, formed in the mid-Qing Dynasty, originated from local folk songs and dances, and absorbed the Beijing Opera, Yunnan Opera and the formation of the artistic nutrition. With erhu as the main accompanying instrument, the performance is simple and ancient, carrying songs and dances. The repertoire includes "E and Sang Luo" and so on.

47, Tibetan Opera

Tibetan Opera, that is, popular in Tibet, Qinghai and other Tibetan-inhabited areas of the opera, sung in Tibetan. Formed in the seventeenth century, mainly Buddhist stories and folklore as the performance content. Actors wear masks when performing. The performance is divided into three parts, the first part is the opening, called "Dun"; the second part of the play, called "Xiong"; the third part of the end of the blessing, called "Zaxi". The repertoire is best known as "Princess Wencheng".

48, shadow play

Shadow play, also known as "shadow play", "light and shadow play", "earth shadow play". With the light irradiation animal skin or cardboard carved into the silhouette of the characters to perform the story of the drama. The repertoire and singing style are mostly influenced by local operas, and are performed by artists who manipulate and sing at the same time, accompanied by music. Chinese shadow theater has a history of more than a thousand years. Due to the popularity of different regions, singing tunes and silhouette materials, many categories and types of theater have been formed, with the donkey shadow in the Tangshan area of Hebei Province and the cowhide shadow in Northwest China being the most famous. Among them, Tangshan shadow has developed into a comprehensive art with exquisite carving craft, dexterous manipulation skills and lyrical singing music.

Chinese Opera

1,

Chinese opera is a comprehensive stage art style. It is characterized by a multitude of art forms, aggregated together in a standard, in *** with the nature of their respective personalities. These forms mainly include: poetry, music and dance. Poetry refers to its literature, music to its musical accompaniment, and dance to its performance. Also included are such aspects as stage art, costumes, and make-up. And these artistic factors in the opera are all for one purpose, i.e., to play the story; all follow one principle, i.e., beauty.

2.

The characteristics of Chinese opera, in a nutshell, "is to sing and dance to play the story" (Wang Guowei, a scholar of the late Qing Dynasty). Opera and drama, both of which are part of the theater, involve actors playing characters and using dialogue and movement to express a certain length of storyline. The difference is that opera uses musical dialogues and dance movements to express real life, i.e. the means of song and dance. It is also known as "singing, reading, acting and playing".

3.

The expression of life in Chinese opera utilizes a way of "taking its meaning and abandoning its form", like the Chinese painting of landscape, which uses the horizontal and vertical strokes to reflect all the beautiful things in life. Therefore, on the stage of opera, there is a red-faced Guan Yu, white-faced Cao Cao; there is a long song when crying, long-sleeved dance; there are no flowers and trees of spring color, no waves of the river.

4.

Chinese opera, as a kind of stage art, needs to face the contradiction between the smallness of the stage and the vastness of life. Opera does not use the principle of "Three Uniforms" to squeeze the life for expression as drama does. Instead, it uses virtual means to create flexible time and space, and accomplishes the portrayal of the vast world with the help of vivid performances of the actors and the imagination and understanding of the audience. Therefore, opera can create the illusion of darkness under the bright lights, and can harness horses on the empty stage.

Chinese Opera

1 ,

Chinese opera, is a comprehensive stage art style. It is characterized by a multitude of art forms, aggregated together in a standard, in *** with the nature of their respective personalities. These forms mainly include: poetry, music and dance. Poetry refers to its literature, music to its musical accompaniment, and dance to its performance. Also included are such aspects as stage art, costumes, and make-up. And these artistic factors in the opera are all for one purpose, i.e., to play the story; all follow one principle, i.e., beauty.

2.

The characteristics of Chinese opera, in a nutshell, "is to sing and dance to play the story" (Wang Guowei, a scholar of the late Qing Dynasty). Opera and drama, both of which are part of the theater, involve actors playing characters and using dialogue and movement to express a certain length of storyline. The difference is that opera uses musical dialogues and dance movements to express real life, i.e. the means of song and dance. It is also known as "singing, reading, acting and playing".

3.

The expression of life in Chinese opera utilizes a way of "taking its meaning and abandoning its form", like the Chinese painting of landscape, which uses the horizontal and vertical strokes to reflect all the beautiful things in life. Therefore, on the stage of opera, there is a red-faced Guan Yu, white-faced Cao Cao; there is a long song when crying, long-sleeved dance; there are no flowers and trees of spring color, no waves of the river.

4.

Chinese opera, as a kind of stage art, needs to face the contradiction between the smallness of the stage and the vastness of life. Opera does not use the principle of "Three Uniforms" to squeeze the life for expression as drama does. Instead, it uses virtual means to create flexible time and space, and accomplishes the portrayal of the vast world with the help of vivid performances of the actors and the imagination and understanding of the audience. Therefore, opera can create the illusion of darkness under the bright lights, and can harness horses on the empty stage.