The differences between China's traditional operas and dramas and their mutual reference.

Abstract: Drama and traditional Chinese opera are two popular drama styles in China. Since the end of 19 and the beginning of the 20th century, the unitary pattern of China's drama has been broken, thus forming a brand-new dual pattern of drama-national drama. Drama is the product of the combination of performing art and language art, and it is the most literary of all kinds of drama styles. As a traditional form of drama in China, traditional Chinese opera is highly integrated with freehand brushwork, stylization and liberalization. This paper mainly compares the similarities and differences between drama and opera from the perspective of stage presentation through examples. Key words: drama, drama, artistic expression, relationship between viewing and acting

As an artistic expression for a wide audience, drama not only has high artistic value, but also has great social effects. "It helps us find a clear path in the chaotic reality in modern society and treat survival and pursuit with courage and strength beyond the opposite of the times." In today's society where the economic and cultural development is seriously unbalanced, it is an important proposition to improve the traditional drama to make it more suitable for the aesthetic perspective of modern people, so as to play a role in enriching the spiritual world of the masses in today's increasingly rich material life. In this regard, many people suggest that China traditional opera and "imported" drama should learn from each other and promote each other, and the premise of learning from each other is to analyze their similarities and differences.

As we all know, the main reason why drama is different from film and television is that it must rely on the stage to exist. Stage performance occupies a large proportion in drama, so the following will mainly discuss the similarities and differences between drama and opera from the perspective of stage performance. First, the pursuit of artistic realm

The artistic realm pursued by China's traditional operas is freehand brushwork rather than realism. Traditional Chinese opera, like traditional ink painting, pursues "similarity rather than similarity" and "beauty" rather than "truth". It is precisely because of this freehand brushwork style that there is almost no need for additional performance props on the opera stage. You don't need a door to open the door, and you don't need a sedan chair to ride a horse. Thousands of troops fought fiercely, and it only took a few walk-on tricks and gestures to show it incisively and vividly. Actors rely on their stylized performances and the audience's association and imagination to create scenes, unfold plots and convey feelings.

On the other hand, influenced by the scientific spirit and realism of seeking truth and being pragmatic in the West, drama, a drama style transplanted from abroad, pursues the artistic spirit exactly opposite to that of China traditional opera. In the long history, drama has always emphasized the true reflection of reality, trying to reproduce the truth of life and reveal the true meaning of life. Performers on the stage should firmly grasp the character and emotional characteristics of the role, find a suitable and true performance form, and rely on various props on the stage to express the role through body movements and lines. In short, if drama is seeking truth with "falsehood", then drama is seeking truth with "truth".

Of course, both traditional Chinese opera and drama come from life and are higher than life, which cannot be separated from fiction and simulation. Whether seeking truth with "falsehood" or "truth", reflecting the real world is their ultimate goal. Second, art performance programs

China traditional opera has a history of thousands of years since its formation in the Song Dynasty. In the long-term artistic practice, China traditional opera has gradually formed its own set of extremely exaggerated artistic programs, attaching importance to stylized performance "skills". Actors first learn a set of fixed performance programs from Master, and then combine various performance programs into specific dramatic actions in combination with the specific image characteristics to be expressed. The stage movements of Chinese opera are exaggerated and rigid, such as "opening the bully", "adjusting the crown", "riding a horse" and "walking on the side". These movements are highly technical and difficult. Tsing Yi, Hua Dan, sleeves floating; Draw a face, Vu Thang, the sword is awe-inspiring. One stroke and one style, if you don't practice for a long time, you will never master it, let alone be superb. In addition to movements, the aria and instrumental music of traditional Chinese opera also have their own fixed procedures. Needless to say, the uniqueness and grandeur of singing skills. As the saying goes, "three minutes on stage, ten years off stage", the difficulty of traditional Chinese opera performances can be seen.

Different from the traditional operas in China, drama is mainly based on dialogue. Although a small amount of music and singing can be used, the main narrative means is the actor's unaccompanied dialogue or monologue on the stage. Drama has no fixed performance program, and actors learn to perform from unfamiliar words, which is more practical than drama. At the same time, it is precisely because it does not have a standard that actors have more room to play freely and fully show their understanding of the role. The same script, performed by different actors, may bring different psychological shock and singing skills to the audience, which is really difficult for traditional opera to do.

However, the beauty of opera is dependent on the program. In the process of so-called modernization and realism, drama must not give up its basic attribute of stylization. In fact, the fixity of the program does not affect the aesthetic feeling of opera, and even the audience of opera is often more familiar with and fond of the program. The greatness of epic lies in its absence of suspense. From this perspective, traditional Chinese opera is like a great epic-the audience may be familiar with its every move and every lyric, but they still love and even indulge in it. For stage art, the audience's love is its greatest value. Third, the relationship between watching and acting.

A major feature of the relationship between modern drama viewing and performance is that there is an invisible wall at the entrance of the platform-"the fourth wall", which separates the actors from the audience. Actors must learn to be lonely in public and mind their own business, regardless of the reaction of the masses. This feature is very obvious in theatrical performances. In this relationship, the actor is the center.

Drama is very literary, and appreciation of drama mainly depends on its ideological content. The performance process of the drama has overall continuity, and it is not allowed to interrupt without reason, and it is not allowed to insert content unrelated to the plot. The audience should buy tickets in advance to enter the theater and take their seats according to the number. It is not advisable to do anything unrelated to watching the play, and even clapping is only suitable for intermission and after the performance, so as not to interfere with the performance. In fact, when drama is formed, it is often an integral part of religious ceremonies. The religious ceremony was solemn. People attending religious ceremonies praise the greatness of God with reverence. They also have reverence when watching plays that show God's great achievements and the journey of saints. At this time, the drama performance is in a high spirit, the audience is in a low spirit, and the audience's psychological perspective is upward. Although later dramas were divorced from the religious atmosphere of sacrifice, this psychological perspective of looking up still left traces of sacrifice ceremony.

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The relationship between the viewing and performance of China's traditional dramas tends to be audience-centered. While watching the performance, you are free to do things unrelated to the performance, and you can also express your likes and dislikes or even interfere with the performance at any time. Although this reflects the essence of opera as an entertainment activity serving the people at the beginning of its formation and the low status of opera actors in the old society, people can't help but feel deeply, but clapping or enjoying opera while drinking a pot has become a part of opera culture, and it is impossible to judge its quality today.

In a word, as two different forms of artistic expression, traditional Chinese opera and drama have their own advantages and disadvantages, and each has its own aesthetic value and social value. Cultural exchange and integration is an uninterrupted process. In this process, they should still maintain their unique stage presentation form without losing their essence and make contributions to the continuous prosperity of people's cultural life.