When did China's plays come into being?

China's drama was born in 1907, which has experienced a hundred years of wind and rain. Classic works such as Thunderstorm, Teahouse and Cai Wenji have influenced generations of playwrights. On the basis of inheriting the essence of Mr. Jiao Juyin's thought of "nationalization of drama", drama directors, represented by Xu, integrated drama aesthetics into drama creation, and realized the poetic "marriage" between a century-old drama and traditional drama.

"All sounds are born of people's hearts, moved by people's hearts, made of things, and moved by things, so they are called sound shapes." China's traditional opera is like a classical beauty waiting for a lady, following the historical track of Southern Opera and Yuan Zaju with the sigh and whisper of Tang-style Song rhyme. It is the candlelight of traditional culture that makes opera "take shape from meaning" and seek God instead of form. Virtual performances, such as the vertical and horizontal strokes of ink and wash, Long song crying, long sleeves and dancing, "no painting is everywhere"; The stage of freehand brushwork is simple and ethereal, but no flowers and trees see spring scenery, no waves see rivers; Singing, reading, doing and acting, "combining loyalty, filial piety and righteousness through the ages, becoming temporary joys and sorrows", everywhere embodies the poetic artistic expression and lyrical beauty of the opera itself. For example, in the "Sailing" scene of the Peking Opera Qiu Jiang, an old man paddles Chen Miaochang and chases Pan Bizheng who has traveled far away to catch the exam. There is neither water nor boat on the stage. The actor's body movements show this bumpy scene, sometimes rapids and dangerous beaches, sometimes calm, and the performance is superb and lifelike. Different from the traditional opera, the drama rooted in European cultural soil presents a distinct realistic style from the perspective of social life and specific stage scenes. Similarly, the performance of sailing in Othello, a famous drama directed by stanislavski, is extremely realistic in the handling of Venetian boats: twelve people push the huge hull and blow linen bags with fans to simulate the sound of waves. Although realistic drama can make the audience have a psychological reaction of "walking into the story", excessive stacking makes the limited stage space lack the beauty of agility and elegance, and drama directors gradually realize that realism and freehand brushwork should not be completely different poles.