Drama art-watching drama and opera.

China opera art, represented by Peking Opera, has an aesthetic relationship with the audience-the way of "watching the play", which developed from the early way of "watching the play". The mutual evolution of the two shows, to a great extent, that the art of vocal cavity, which appeals to hearing, has actually been replaced by a wider range of visual performing arts. For example, Beijing opera has developed from opera to theater, which is not accurate. The evolution relationship between China's going to the theatre and going to the theatre is much more complicated, and it is not completely equivalent to Zhezi Opera and Liantai Opera. On the surface, this concept is just a concept with different ways of drama appreciation, but it involves many things, such as the genre of vocal music, the genre of drama, the role line, the relationship between theater and audience, literature and stage, realism and freehand brushwork, audio-visual relationship and so on. There are not only the complexity and entanglement of the development and evolution of drama forms, but also the changes and collisions of aesthetic concepts. Therefore, it may be helpful to clarify and explain some historical facts and theories by combing the historical evolution of theater and theater.

Mr. Guo Yingde said: "Before the legend came out, two concepts of drama were popular: one was the concept of' drama' held by people in the Tang and Song Dynasties, which was later inherited and developed by folk operas and matured due to the dramatization of various performance techniques; First, the concept of "Qu" with poetry as the main body of drama held by people in the Yuan Dynasty was more prosperous in the middle of the Ming Dynasty. " In fact, this kind of drama in Song Dynasty is the difference between Southern Opera and Zaju, which means going to the theatre and going to the opera. In other words, Yuan Zaju, like Southern Opera, emphasizes songs and plays. Zaju focuses on "watching the play", while southern opera focuses on "watching the play"; "Watching a play" means listening to "Qu", that is, listening to "Qu in the play"; "Watching a play" means watching "a play".

If we learn from the analytical framework of grand tradition and minor tradition put forward by American anthropologist Robert redfield, there are actually two paths for the development of China's dramas: one is the "bending" path of grand tradition represented by upper-level literati, and the other is the development path of traditional folk operas represented by citizens and farmers. Of course, these two paths are not completely different, but a process of interaction and mutual penetration. Therefore, it is not accurate for Lu to think that the history of Chinese drama is "olive-shaped with two pointed ends", because the tradition of "drama" has always existed, such as the Southern Opera before the literati became legends in the Song and Yuan Dynasties, the Yiyang Opera, which is on a par with Kunshan Opera, and the process of "full music" in the middle. They are not "full", but under the pressure of "bending" of the great tradition, their right to speak is very small and only recorded in historical materials.

The difference between going to the opera house and going to the theater mentioned by Mei Lanfang is related to the different role performance styles of Tsing Yi and Hua Dan at that time. He said, "Before we studied drama, the boundary between Tsing Yi and Hua Dan was quite strict. Hua Dan emphasized expression, figure and formality. Clothing colors also tend to be exaggerated and gorgeous. This role represents a lively and romantic woman in the old play. Hua Dan's catwalk and movements are obviously different from those of Tsing Yi, but the requirements for voice and singing skills are not too high. ..... Tsing Yi focuses on singing, but pays little attention to expression and figure. Most facial expressions are as cold as ice. Be sure to hold your stomach when you appear, with one hand hanging down and the other hand on your abdomen, and move forward steadily without leaning. This kind of role represents serious and steady in the old play, and is a typical decent woman. Therefore, this role appears on the stage, and the audience only asks him to sing, without paying attention to his movements and expressions, forming a habit of hard of hearing and not watching. " The traditional southern opera and northern opera, the attendance of flowers and elegant operas, and the attendance rate are still limited to the difference between opera and song, and the difference between official tune and local opera. However, the dispute between the Beijing School and the Shanghai School about going to the theater and the dispute about the attendance rate of the theater has added the factors influenced by western culture, which is caused by the conflict between Chinese and western cultures and drama concepts in the process of the development and transformation from traditional opera to modern opera. The emergence of Shanghai-style Peking Opera has a more special, complex and profound background, that is, the drama reform movement that spread from politics to art, and the influence of western modern literature and art such as drama, film and music can not be ignored. Zhang Cixi's "Biography of Wang Xiaonong" said: "The European wind spread to the east, and the opera had to follow suit all the way. Gentlemen have expressed their opinions, compiled new plays, innovated their voices, changed their decorations for a hundred years, and started the atmosphere of a pear garden. " Drama is not so much a performance of a story as an imitation of the real life process. It is not a simple religious ceremony, but a performance of life. "Drama reflects the form of folk culture, and the history of drama is the life history of the people."

* From Go to the Opera House and Go to the Theatre —— Li Liansheng's Double Attributes of China's Plays.