The basic characteristics of the art of opera are mainly reflected in which aspects

Theater art is a combination of components of the "big family". From the elements of the composition of the theater, it is an organic art as a whole, from the creation of the script to the stage performance to the audience acceptance, the real meaning of the theater should include theater performances. From the special nature of the beauty of the theater to see the characteristics of theater art, it has six aspects of the characteristics: First, the drama is the art of two degrees of creation, that is, the art of re-creation (also said to be three degrees of creation, including the audience's re-creation).　Drama is composed of elements such as scripts, guided performances, stage art and audience. Here, the script of dramatic literature is the first degree of creation, which is the basis of a play. In this way, the art of directing and acting is called the art of second degree creation. But not only the director and actors have to create, but also the stage art, music, dance, and all the specialties participating in a play, all of which are based on the script and recreated art. In this way, the performance of the overall image of theater art is also the art of second creation.　About the theater is the art of second creation, the word "second" originally refers to two aspects: one is the relationship with the "foundation of a play", that is, the relationship between the script and the performance, which has already been mentioned. The script is both the basis for the re-creation of theater art, foundation, material, and its independent nature of the artistic value and role. Second, the relationship between life and material (or subject matter). Playwrights create a play, is from the direct reflection of life, to the writer's own thoughts, ideas, feelings, written into the play of the life of the subject matter. And theater workers to re-create the material of the play, is called second degree. Because theater workers come into contact with the life themes revealed by the script is indirectly received from the playwright. The playwright's literary scripts are taken directly from life, and he writes his scripts without any limitation, expressing his own opinions and attitudes toward social life, raising questions, and achieving his intention or "idea" to change life, the spiritual world of people, and the concepts of the mind. Theater workers, on the other hand, although they also have to start from life, also have to be based on life, and take life as the material for creation, they must be within the scope of life provided by the literary script written by the playwright, and it is subject to the limitations of the subject matter of life stipulated in the playwright's literary script. Thus the writer's source of life is direct, for one degree; while the dramatist's life is indirect, for two degrees. But this relationship between the one degree and the two degrees is also limited to the basic relationship between the creator and the creative material, and cannot be treated in a metaphysical manner. Such as the playwright's work, although directly from life, but not documentary theater, report literature, which has many indirect components of life, especially the role of the writer's subjective consciousness. And theater workers to understand, feel, until the creation of the stage image of the art of life, although by the playwright created by the play's life is limited, from the middle of the play indirectly recognize the writer to provide the life (or fictional), but the theater workers still have to their own direct or indirect life to the play's life subject matter to re-create. The richer their direct life experience, the deeper their understanding of the script, the more distinct the artistic means of re-embodiment. Therefore, the artistic creation of theater workers, to restore the script to life with the stage image, which is only a fundamental principle, and the real theater workers, not only to the script reveals the life, to the image of the stage means to restore the life, but also to have their own understanding of the life, the feeling of the uniqueness of the life, to the distinctive means of art, to deepen, to strengthen the author of the hint of the life. Although the playwright let go of his hand to write, while the theater workers have to play on the basis of the script, play, create theater art unique stage image performance of the art world. He also relies on the accumulation of his own direct life, but also once the creative material. Summarized, a play is the basis of the art of drama, so that drama is the art of re-creation, which is relative. The script is the playwright directly from the life of a one-time creation, the drama is limited to the script of the life of the subject matter, and therefore is a second degree of creation, which is also relative. But is one of the characteristics of the drama itself, the law, dialectical relationship.　Second, the theater is a comprehensive art, is the mutual influence, and mutual constraints and the existence of a strong overall comprehensive art.　Drama "uses a variety of media, namely, rhythm, song and 'rhyme', 'alternately'', and "imitates with movement ". It has been said that the whole image of the stage in performance is like a picture woven in time. "A picture woven in time" is a very graphic way of putting it. This means that if the picture is removed from time (performance time), the picture no longer exists. Because the stage image can not use the static picture to play its artistic function, it must be followed by the time of the theater performance, the events in the drama, the conflict, the rhythm, the development of the atmosphere and constantly changing. Its artistic role can only be appreciated and felt by the audience continuously with the continuation of the performance time, in the overall activities of the actors' performing arts and other comprehensive artistic means.　II, a variety of artistic factors in the theater did not participate in the time, they are independent of an art form, once part of the drama, the relative loss of their independence, is subordinate to the performance of art in general.　Third, stage. Drama can not be separated from the performance, "fill in the words of the set, specifically for the stage" which is different from the general literature, desk literature, one of the main features. Attaching importance to the stage, that is to say, attaching importance to and preserving the synthesis of the drama. In addition to language and movement, the stage play should also make "the eyes (vision) move together". "Properly speaking there can be staging only of things that are at the same time symbolic for the sight; an important action, an action that suggests another important action." (Goethe: "The Unsung Shakespeare") Of course, in art, synthesis is not unique only to the theater.　Thirdly, theater is the art of collective creation, the art of playing the collective role of creators with the director's conception as the dominant one.　The above refers to the richness of the content, and here we are talking about the number of components. Due to the comprehensive nature of the art of theater, it includes a variety of artistic factors of the creators - the collective, a wide combination of playwrights, directors, actors, artists, musicians, dancers, etc., with the help of a variety of artistic means to influence the audience's wisdom and mind. The wide range of this collective is unique to the art of theater. Therefore, theater is a collective artistic creation, which can never be accomplished by a single individual. And in this collective are mutual constraints, interdependent and exist. Such as playwrights, directors, actors, stage art staff, etc., each of them for the performance of a play image, all for a **** the same ideal dedication of their own a creative labor. Therefore the real creator of theater art is not a particular person, but the collective - all creative staff. This collectivist spirit is the soul of theater art.　Because of the holistic (integrity) character of dramatic art, it is determined that the actor's artistic creation depends not only on himself, but also on those who work together with him, and also on the atmosphere and power created by the collective. Therefore, the actor must fight uncompromisingly against his own and other people's inertia, selfishness, competition for major roles, the pursuit of personal fame and fortune, arrogance and other undesirable phenomena, and never allow anyone's despicable behavior to harm the collective. This is "virtue".　The performing art of actors is the main art of theater art.　The most important factor in any theatrical performance is the performing art of the actors. Drama has the basic characteristic of focusing on the performance. Because it has the characteristic of acting on objective objects, it must be performed. Drama is mediated by the form of the actor and is presented to the audience. "An actor is one who 'invokes' the gods by 'acting,' i.e., song and emotional posture." (Toshio Kawatake: Introduction to Theater) A play is performed, and acting is action; the actor is the main body of the play, and without the actor there would be no theater. The art of theater is centered on the performance of the actor, and the correctness of this view can be confirmed by the origin of theater. "Only the actor who plays any part and expresses the human existence of a certain section of life is the sign of the existence of the theater. It is much earlier than the birth of the theater for human spectators. It came into existence at the same time as the social life of mankind, when the actor, the spectator, and the author were not yet differentiated, in what is known as the 'trinity' of being." (Ibid.) Acted out by actors who kamikaze and make up a curtain sheet, it did not originate in literature. It is a truth that no one can refute that the main body of dramatic art is the performing art of the actor.　It has been proved that the actor is the embodiment of the characteristics of the drama. If the director leaves the actor, then the art of directing is also unplayable. This living theater stage performance, including two major sectors: one is the actor's performing arts category; one is the material image of other artistic factors category. These two categories are synthesized together to form the image of the whole performance. After the stage art and other artistic factors enter the theater, they are not separate from each other or separate contact, but through the performing art bond, all artistic factors organically linked or integrated together. But the relationship between the two sides is not a question of who is subordinate to whom, but a cooperation that is complementary and supplementary to each other.　II. The actor's position in the drama can only mean that he is the embodiment of the character of the drama. As for the role of other artistic factors in the drama, they are not only indispensable but also very important. Especially in the course of the future of the theater, its value will become higher and higher, and its role will become stronger and stronger. Because of the comprehensive nature of dramatic art, it will be more and more widely and delicately played, and even more scientifically. Although the actor is the embodiment of the characteristics of dramatic art, it is only one aspect, only a part of the comprehensive, collective whole, and not the whole of the characteristics of drama. The performing arts, if left without the comprehensive other artistic factors, are bound to be withered and pale, just like a painting, which is merely a white drawing. For example, stage art gives actors various environments to create characters' lives, and induces real feelings for the performing arts. Especially the modern stage lighting is not only for illumination, or to illustrate the time, it is the soul of a theatrical performance, which makes the whole space three-dimensional. The performance of music and sound is also different from the past, not only the rhythm of the psychological activities of the characters and the atmosphere of the drama plot, but also in the use of antithetical sound to strengthen the image of the performance of the intention. Like costume design, make-up, modeling, etc., have not been in the past as only in line with the reality of life, but in search of their own interpretation of the image and artistic conception of the unique treatment. All these various means of stage art are moving towards the unique style of theater and making it more distinct. Therefore, the energy loaded by the current performing arts has exceeded the present level and has even lagged behind the requirements of the times.　Third, the totality of the actors. Cooperation with others should be in tune with the whole; the relationship with the performing collective is holistic. In the comprehensive art, regardless of the protagonist, supporting actors should cooperate with each other, support, red flowers need green leaves to support.　Theater is opening up, heralding a new mileage of prosperity, theater is opening up to the world stage, showing the unique function of the theater. However, as an important position of the theater art as a whole of the performing arts, but it seems old-fashioned and inferior, the skills of the poor, the method of rigidity, the life of the narrow, the knowledge of the shallow, the conditions, the quality are so weak, how to adapt to the development of the needs?　Fifth, the audience is an indispensable member of the collective creative process of theater art.　The audience is an indispensable and important part of the creation of theater art. Drama has a role in the objective object of the characteristics, and therefore must be performed, must face the audience and strive to achieve results in the audience. Drama is an organic and complete whole from script creation to stage performance to audience acceptance. In dramatic semiotic terms, it is a complete system of communication, "The so-called communication is the act of creating a copy of the 'abstraction' existing in one's own mind that has the content of thinking in a broad sense in the mind of the original opponent." ( Yoshihiko Ikegami, "Introduction to Semiotics", Japan) In theater, communication is the connection between the playwright, the director and the audience, with the playwright and the director being the source of the message, and the receiver being the destination. The rehearsal of a play is only the preparation for the performance, only half of the whole process of the play, and the other half is accomplished by the audience in the process of the performance. Therefore, it is said that "without the audience, there is no theater. The audience is a necessary, essential condition." (Sassay, "The Aesthetics of Drama") Drama theory often has such propositions as, "Drama is the art of the theater," "The life of the drama lies in the performance," and "Drama is composed of the subject of creativity and the subject of acceptance * * * together. " All these emphasize one name - the audience. We say, no actor can't perform a play; without the audience, who is this play for? So it is only when there is acting and watching that a play becomes a drama. At least "audience" is an indispensable condition for the occurrence and development of theater.　The audience is not only a passive spectator appreciator, commentator, acceptor, but also in the performance process of a play, is also an active participant in the creation of theater art, an indispensable part of their psychological rhythm, determines the success or failure of a play. In turn, the creation of theatrical beauty is based on the audience's aesthetic psychology. Theater forces the audience to comprehend everything that happens on the stage, so the audience is bound to experience the situations and destinies experienced by the characters on the stage. The audience changes with the plot, and millions of hearts beat with the actors' movements. The audience's reactions become echoes that are reversed to affect the stage and shape the effect of the play. The echo of the audience and the actors on the stage form a kind of cross-corresponding stimulus. Living people watching living people on stage to create living people, which has extremely subtle two-way information exchange between the actors and the audience, especially the language of the theater and the audience's communication is more direct and clear. Onstage and offstage, actors and audience mingle, forming a subconscious stream of consciousness, "moving waves" echoing each other. "The 'acting' expressed in the audience's invisible posture coincides with the 'acting' expressed in the actor's visible posture, and thus drama arises." (Gatenwei, Japan: The Nature of Drama) In his book The Sociology of Drama, the German dramatist Julius Barp states that the audience is not only a material condition for the formation of drama, but also "an element that participates dynamically in the acting of the actors." It is not only a "material supporter" but also a "creative supporter".　From the point of view of the audience's attention, it is necessary to draw attention to it, and to keep it, and to make it last. It must be clear that without the audience's attention all artistic measures will be useless. And the audience's attention to focus, persistent, will be fed back to the stage, such as Chinese opera performances in the "holler", the audience is nervous, the actor will clearly feel this tension; Similarly, when the audience's attention is not focused, began to cough, talk, uneasy, the actor will clearly feel the audience bored. How to keep the audience's attention, until the end of the play, and even after leaving the theater can still three days around the ear? This is a very subtle audience psychology. And there is a clear attention to the center of gravity and regulation, pay attention to the rhythm is to maintain attention to the key measures. Generally speaking, the content is scattered, the plot is single, flat, vulgar and banal performance is easy to cause the audience to get tired and bored. The enthusiastic response from the audience has a strong influence on the actors; the opposite is like pouring cold water. It can be said that the audience's reaction in the theater constantly corrects the actor's performance. According to the theory of acceptance aesthetics, what the audience feels after the encounter with the theater work is the real meaning of the work.　Theater is infectious and can constitute a social and spiritual force. We believe that the audience's joy, anger, sadness and happiness will directly feed back to the stage and affect the actor's emotions. Laughter, for example, is infectious, often more than others first to recognize the joke of the minority of the audience, can cause the other audience a burst of laughter; to see the audience sitting next to the audience screaming up, will also cause you to be happy, and your happy to turn around and will strengthen the other people. So it is with moving, sadness, and wiping away tears. If the neighboring sitter pulls out a handkerchief and wipes his nose and tears, you will also be moved by it. And so the moments of mutual inspiration between actor and audience intertwine and echo each other as if they were intoxicated. Thus, the audience participates in the creation of dramatic art in the theater, even though they are sitting on the stage watching and appreciating. Not only is there no theater without the audience; but without the audience's enthusiastic response, the play loses its youthful vitality, and the artistic life of the actors is dead. It can be seen that in the art of performance, the actor's main collaborator is the audience; and the audience is the actor's most faithful friend. "The audience is God", with today's market economy concept, the audience is also the theater workers "food and clothing". The audience is so innocent and honest to put themselves in the theater, looking forward to the actor's performance art can attract him, entice him, confuse him, with the protagonist's encounters, unreservedly answer. It is thus clear that the actor's performance, the writer's play, requires the creative participation of the audience in order to exist. From this perspective, it can be said that only the audience is the real creator of the theater. The relationship between the theater and the audience, not only can't just fit, cater to the audience's taste, can't not take into account the audience's acceptance of the situation; and can't lower themselves to accommodate the audience, the audience should be raised to their own level.　But it must also be understood that the audience is not deceived. Some actors and actresses are always trying to fool and confuse the audience with fake performances, and as a result, they lift a stone to hit their own feet. The audience does not buy your account, but on the contrary, your performance comments, more indifferent, more critical, or never return, next time never see your play. Visible, if an actor's performance can not attract the audience, can not conquer the audience, can not induce the audience, your performance is still called what art?　The three levels of the audience. As the objective object of the drama, it has a great breadth, its composition, in fact, is a "loose group", people out of the appreciation of the drama *** with the needs of each other by chance, assembled in the same theater, the same play *** with the same two or three hours of appreciation. At this time the audience is no longer an isolated individual, and formed a group consciousness, of course, due to the different composition of the audience, age, occupation, training, hobbies and aesthetic requirements of the different performances of a play, feeling, thinking about the angle will be different. Especially with the change and development of the times, the audience's aesthetic taste and expectations are getting higher and higher, and the differences and requirements between them are also changing, each belonging to a different representative category. Especially the reflection of aesthetic requirements and psychological state has its own personality, it is impossible to seek absolute unity.　According to the audience's degree of general knowledge of the theater can be divided into three levels: ① recreation, entertainment type of audience. Some of the audience into the theater is entirely for the sake of the pastime and entertainment, or enjoy the complexity of certain dramatic stories. Judging from the present abnormal state of affairs, this may still be the majority, or half of it. Although it is the majority, it is a lower level of audience, belonging to the type of "layman watching". In our opinion, it is not necessarily the fault of the majority of the audience that they are willing to watch entertaining popular theater. Some of the trivialities of life and fatigue of labor enough, to the theater to take it easy, is human nature, is a normal need. If the theater to serve the people, the production of some healthy thinking, entertaining plays, as "compensation", it is about reasonable things. However, pandering to the low-level interests of certain audiences, unchecked push the drama to commercialization, such as commercial pop music, wine bar music, dance music as the new music of the 1980s to promote, it will destroy itself.　② Appreciation and enjoyment of the audience. This part of the audience is often for a famous play, to see his favorite actors, directors, and theater performances, to find their own sense of view, enrich their knowledge, to enjoy a performance as an artistic enjoyment. It can be said that they are excited, with excitement, in the theater art atmosphere to absorb fresh nutrients, from the ordinary realm of daily life to fly over in the creative imagination of the realm of art. These interesting and noble audience, like to constantly review, often new as before. Their memories are often stored in some moving scenes. From the present point of view, this kind of audience has been declining, but with the advancement of cultural life, the quality of theatrical art and adaptation, the future domination of the theater audience, it will be them. This is the middle level of the audience, but always is the main audience of the theater, is the "insider look at the doorway" type.　Three appreciation, research-oriented audience. They enter the theater for the purpose of research and appreciation. They make their own evaluation and exploration of a play with a scrutinizing attitude. This is a high level of a few audience, but for the development of the theater, and is a very important friend.　The latter two types of audience belong to the middle and high level of appreciation of the audience, they are often not satisfied with those who can understand at a glance, at a glance of the entertainment of the theater. Only sensory pleasure and stimulation, has not filled their aesthetic space; they would like to rack their brains, happy to participate in the creation of aesthetic dynamic activities. From the viewpoint of the audience's aesthetic psychological structure, some of the audience's feelings are easy to reveal, they can be in the theater with the joy of the scene and laugh, with the scenes of sorrow and tears; some of the audience like to think, the feelings are not easy to reveal, and some of the audience like to often mobilize their attention, with the development of the clues in the plot and the constant alternation of the clues. It can be seen that the audience's attention center of gravity is different, habits are not the same. And different types and styles of theater, often corresponding to it.　In a sense, the audience's real and lasting artistic enjoyment comes from the experience of dramatic works, empathy, thinking, imagining, judging, and even re-creation of the whole aesthetic process. The easy-to-understand popular theater greatly simplifies these complex and interesting aesthetic processes. However, from the proposition that there is no theater without an audience, the audience is indeed the "God" of the theater. It can be said that different audiences support and create different kinds of theater. However, to emphasize only the dependence of the drama on the audience and neglect the responsibility of the drama to the audience is a kind of tilted aesthetic concept. It must be known that theater is not only for people to enjoy, but also should cultivate and improve the appreciation of people, that is, Marx said: "The object of art creates a public that understands art and is able to appreciate beauty." The whole history of the development of theater tells us that the audience chooses the theater, and the theater also chooses the audience. Similarly, different plays create different audiences. The collision of the two choices, the mutual promotion, and the synchronization of the forward movement will produce the vitality of the theater. However, we cannot expect all the plays to achieve elegance and popularity. Because these three segments of the audience, which are objective at all times, are not selected representatives, they are a group that can never be unified. We believe that in order for the theater to prosper, it can only take the path of multiple choices, multiple competition, and multi-layered development, from which there is no other way. In addition, we should also keep in mind the warning of our predecessors: the audience is not always right, but playwrights, directors and actors who ignore the audience are always wrong.　Third, how to attract the audience to the theater? Theater in the face of appreciation of taste and expectations of the general audience is increasingly high how to do? It must be recognized that the theater to see the audience can sway the infectious force, is an important aesthetic requirements. It must be known that the audience's artistic feelings are old and new, "I advise you not to play the previous song, listen to the singing of the new willow branches". Why is the old tune unattractive? Aesthetically speaking, it is difficult to agree with the aesthetic requirements of the previous generation and the next generation. Because art is a thing that renders feelings, the two generations live in different time backgrounds, and encounter the atmosphere of the times is not the same. These differences are reflected in different emotions such as joy, excitement, generosity, and discouragement. From the point of view of audience psychology, seeking for "newness" is determined by the audience's special way of viewing. Drama to face the audience, the audience has a strong dependence on the appreciation of the object, once the appreciation process begins, the audience has no choice, and had to repeatedly look down, the performance is frequent, see the same play, see the boredom of asking for "new". So how to attract the audience to the theater? This is a very hot issue, need to think carefully: the play to be fascinating, there will be "fans". I think the real charm of the play, not determined by the novelty of the performance style, of course, there is a certain attraction. The key to the key, the fundamental of the fundamental, is the actor's performance art. It is only when they are able to connect with the audience's heart and hand it over to the audience heart to heart that they can keep the audience in the theater. Such as "Longing" is so. And the kind of inferior false appearance, posturing hypocrisy, relying on bare thighs, vulgar inserted to play muddy, bloody fights, senseless odd surprise plot, or imitation of others have long abandoned the old programmed set, this road does not work, is not a shortcut, but hemlock to quench the thirst for self-destruction. Not only by the audience ridicule, hate, spit, is in their own team, will be eliminated, there is no place for you. False, not only on the stage by the audience's rejection, contempt, is in the life of the collective, but also will be detested by people's, he can not get real friendship, not to mention the true love. He who seeks the effect of cheap excitement in the theater is shallow in his view of drama. The dramatist Meyerherd said, "My greatest fear is that we have allowed our audiences to get into the habit of laughing unthinkingly and uninterestingly, and that they will not be spoiled by our booing at some future time, and that the audience will have to ask us to cause them to laugh with our gags, and in return report a loud booing or cold silence to the elegant, timeless plays. " (A. Glatkov's transcription of Meyerherd's talk)). It must also be seen that the modern habits of thought, contemporary people's sense of individuality is generally increased, they are willing to think for themselves and come to a conclusion, unwilling and tired of others to think on his behalf.　Sixth, the stage performance of the drama and the fundamental difference between film and television - theater is the art of intuition.　Because the drama is to direct the infectious force, so that the audience in the appreciation of penetration, seduction, which is intuitive pleasure role. The life of art lies in intuition and no longer in analysis. But art is precisely the need to give the audience a huge philosophical indoctrination, which is a contradiction (dramatic conception, literary conception, philosophical conception is different, each of them with different techniques, concepts to illustrate a reason). We believe that although the life of art lies in intuition, it is not the same as the intuition of life. Intuition in art is the external expression of the mind. To "express" is to "show" what is hidden in the heart. Realistic theater, for example, gives a sense of reality by appealing to the audiovisual senses, and its reality is as objective as the objective existence, which is hypothetical. It uses this intuitive effect to arouse the audience's sense of immediacy, an intuitive sense of reality. He is to feel it as directly as if he were looking at a painting. What distinguishes theater from narrative literature in general is intuition. Chinese opera, on the other hand, is a sense of reality that appeals to understanding and imagination. "The stylized space of performance created by the virtual movements of the opera is implied in terms of the image as a whole, but this sense of reality does not appeal to intuition, but to understanding and imagination. Of course there is another layer to this sense of realism, namely the physical modeling elements themselves - the moving actor entity, the physical props or physical devices outside the actor's body - and it is not for the audience to evoke the illusion of reality intuitively, but of course also for the virtual action that is being characterization." (Li Chuncu, "Virtual Performance in Opera") In short, regardless of the direct recourse of drama or the indirect recourse of opera, on the whole theater is an art of direct communication with the audience. Its directness, not only is the direct communication, and the audience has participated in the creation of this one play; its directness, it is the audience on the performance of the direct sensory impact, everything is concrete, vivid, with the actor as a living person to create a flesh and blood of the characters with the audience to produce **** Ming.　All of this is not through the screen, the screen of the visual and auditory indirect connection, but direct viewing, hearing, listening to singing, and directly reflected in the theater, the audience not only feel the impact of the actors on the stage on their own, but also with the audience's own perception of the direct reflection to the actors, affecting the actors. Any other art, will not be like the theater performance, directly to the audience. The unique charm of the artistic beauty of the theater is also in the intimacy generated by its direct communication with the audience. The object of the theater is a human being - the audience; the body of the theater is also a human being - the actor. Drama is based on visual and auditory intuition, giving the audience an intuitive feeling. The intuition of the drama is not the style of the drama performance; what is vital is the performing art of the living human being, the subject unique to the drama. While a novel uses words to describe a person's appearance, in a theater performance, a character's appearance is directly expressed through the actor's form, costume and make-up. The daily life environment of the characters is also expressed through the stage sets, lighting, and crowd scenes. This intuitive effect is different from that of movies and TV dramas. The famous Hungarian film theorist Balázs, when comparing the means of expression and structural characteristics of movies and dramas, said: "A drama can be composed of several long scenes (i.e., several plays), or there can be no change of scenery, and the characters can talk in a room for several hours as long as there are inner movements and inner conflicts. This kind of lengthy mere showing of inner activity (and thus unseen) things is not quite right for a movie in which visible images are the main element. Cinema demands that every inner activity find an outside, visible, filmable image." What he means is that movies and television need to reveal the inner world with images that can be seen and felt. Note that the communication between movies and television and the audience is one-way; there is no feedback back from the audience's reaction. It is different from the immediacy and specificity of theater. It can be said that theater is the art with intuition, while this intuition can only be manifested in the process of certain time and space performance. In addition, the reason why film and television can never completely replace the theater, is because film and television in the accurate reproduction process is no longer created, while the theater performance is a creative process, and this creative process and the audience's appreciation of the process is consistent, coincide with each other, and each other and mutual stimulation, complement each other's role. This is a one-way information exchange of film and television can not reach.　The above elaborates the characteristics of theater art from six aspects. These are interlinked, corresponding, unified, indispensable and integrated together. To sum up, theater art is the art of man, and man is the main character of the drama. It has to create character images, embodying characters' life, thoughts, feelings, destiny and their inner development. Only in this way, the art of theater can be attractive, infectious, for the audience to enjoy