Why is it said that if you want to appreciate traditional opera, you must understand its spiritual c

Traditional operas that are carefully rehearsed, performed and brought out with new ideas must have the Chinese spirit, the new historical repertoire must also have the Chinese spirit, and the modern repertoire must have the Chinese spirit. As we all know, the Chinese spirit is the national spirit with patriotism as the core and the spirit of the times with reform and innovation as the core.

Because a large part of the opera is expressed in his inner feelings, but for people who don't know about drama, they can only understand some tunes poured on the surface, and if you have a deep understanding, you will find that there is a very deep story behind their lines, which makes the opera more interesting.

Traditional drama has a lot to do with some cultures, and only by understanding the spirit of some opera can we better understand some of the characters in it and have a complete appreciation.

Traditional opera culture is an important part of traditional Chinese arts, which includes five major opera art forms (Peking Opera, Yue Opera, Henan Opera, Qin Opera, Huangmei Opera) and many traditional opera arts (such as storytelling, Jingyun drums, shadow puppetry, etc.). Traditional opera culture has a profound cultural heritage and rich artistic expression, which has had a profound impact on the development of Chinese culture and art.

Traditional opera culture has the following significance:

Traditional opera culture is an important part of Chinese culture. It is the crystallization of ancient Chinese art and culture, and contains the essence of traditional Chinese culture.

Traditional opera culture has a strong historical atmosphere. It records the history, culture and social life of ancient China, and provides valuable information for us to understand the culture and history of ancient China.

Traditional opera culture is rich in artistic expression. It conveys the essence of traditional Chinese culture through literature, dance, drama and other artistic means, and brings spiritual touch and enjoyment to the audience with unique artistic styles and techniques.

Traditional opera culture has a wide range of social influence. It has a high status and influence in traditional Chinese society, and is an important carrier and medium of traditional Chinese culture. Traditional opera culture has also had a profound impact on the development of traditional Chinese art forms.

Traditional opera culture has the dual value of inheritance and innovation. It not only inherits the essence of traditional Chinese culture, but also constantly innovates and develops, so that the traditional opera culture always maintains vitality and distinctive personality.

Chinese opera is a pearl of Chinese culture and traditional arts. After thousands of years of historical accumulation and artistic inheritance, Chinese opera has formed its own unique artistic style and aesthetic paradigm, which shines in the treasure house of human art, which not only represents the civilization height reached by ancient Chinese culture, but also highlights the spiritual charm of the great artistic creation and artistic imagination of the Chinese people. Chinese opera is known as one of the world's three major theatrical performance systems with its unique vocal cavity, character types, stylized performances, and virtual imitation.

It is the pride of civilization and art of the Chinese nation, and it is also our cultural symbol and artistic benchmark.

We must carry forward traditional culture, which will always be the spiritual pillar of a nation and a solid foundation for the development of a nation. Therefore, traditional Chinese opera has preserved value and significance. This value and meaning will go back a long way.

Definition of traditional drama culture: Chinese opera is unique in the world theater, with distinctive national characteristics and unique aesthetic characteristics. First of all, Chinese opera emphasizes god-likeness and freehand.

The form of life on stage is different from real life. It is the refinement and processing of real life, and it is the transformation of the form and freehand. Opera generally does not require a set, and the space represented on the stage can be freely decided and freely changed through the performance of the actors.

The stage can be a study at the moment, but as soon as the people in the play turn around, the stage can become a garden, or even another place thousands of miles away. It can be seen from this that the space of the opera stage was created by the performers performing with their bare hands. In this way, opera can freely, flexibly, coherently, and fluently express an infinitely vast and ever-changing space, as well as an extremely rich and complex life event.

The emphasis on imitation in Western drama has led to the concept of realism in Western drama, which advocates the use of scenery to determine space according to the appearance of life, that is, life on the stage is the same or similar to the form of real life.

Sometimes, the plot of Chinese opera is also freehand. For example, a few rounds between two players can mean a complex battle with thousands of troops, or even a banquet that ends with just one tune card. In terms of acting, there are a lot of virtual movements in traditional Chinese opera.

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Personally, I like opera very much, when I was a child, I listened to my grandfather have been playing opera on the radio, and I was exposed to some of it, and then the family conditions were better, and I started to watch TV, and I saw the opera actors on TV who made up very amazingly, interpreting traditional Chinese culture, which was very attractive. When chatting with grandpa, I will also talk about opera, grandpa introduced me to several different singing voices in the past, etc., and then grandpa is gone, although I listen to less, but I will occasionally listen to it, but in addition to the appreciation of history and culture, I will also carry the feeling of missing grandpa.

I like to listen to opera, and the traditional opera culture refers to the quyi culture that has been passed down for many years, and has a long history.

I think that traditional opera culture is a kind of drama culture that has been passed down by people, and I like opera very much.

It is to reflect the plot of the story through singing. I like opera very much, and there are many different cultures in opera.

Chinese opera is unique in the world theater, with distinctive national characteristics and unique aesthetic characteristics.

First of all, Chinese opera focused on the resemblance of gods and freehand painting. The characteristics of life presented on the stage of opera are different from those of actual life, it is the extraction, production and processing of actual life, the transformation of its shape to convey its spirit, and the writing of its meaning. Opera generally does not need to set up a scene, and the indoor space on the stage can be changed at will according to the artist's performance.

The stage can be a small study at this time, but as soon as the playwright turns around, the stage can become a flower garden, and even another address thousands of miles away.

It is not difficult to see that the area of the opera stage is based on the freehand appearance of the artist's performance. In this way, opera can express the endlessly wide and unpredictable interior space in a casual and coherent manner, and it can also express the extremely rich and complicated things of life very casually. However, Western opera focuses on imitation, which leads to the realism of Western drama, which believes that the space should be determined according to the appearance of life, that is, the shape of life and actual life presented on the stage are the same or similar.

The plot of Chinese opera is sometimes freehand, such as two generals competing for multiple combos, which can indicate a complicated battle of a million male soldiers, and even a banquet is over as long as a song card is played. At the level of interpretation, there are many imaginary postures in opera. For example, in "Fishing and Killing", Sean's father and daughter rowed a boat, there are only oars and no boat on the stage, but it gives people a practical feeling of rowing boats.

No wonder the German dramatist Brecht watched Mei Lanfang perform this play in Moscow and was amazed.

Chinese opera is a highly comprehensive type of opera, Chinese opera includes poems, songs, folk dances, sculptures, arts and crafts, engineering architecture and other cultural elements, but also includes poems, words, songs, fu, short essays, sets and other literary components, this element under the guidance of the rhythm of the composition of an organic whole. Chinese opera has a high degree of traditional craftsmanship. The artist's recitation, articulation, speech, crying, laughing, posture, and posture are all highly methodical, and artistic beauty is emphasized everywhere.

It can be said that Chinese opera is the quintessence and classic meaning of Chinese national culture.

Xiqu is a traditional Chinese drama form, integrating performance, singing, singing and dancing, and is a comprehensive stage art that includes various elements of literature, dance, art, martial arts, acrobatics and performing arts, with a brilliant history and occupies an important position in the history of world theater.

I know that this is a unique folk art, and every place has its own opera, such as Peking Opera, Huangmei Opera, Henan Opera, Jin Opera, Flower Drum Opera, Puppet Opera, Sichuan Opera, and there are many excellent performing artists, such as Guang Hanqing and Tang Xianzu.

You know, this refers to the traditional Chinese opera culture, which is also divided into many categories, each with its own characteristics.

Originating from primitive song and dance, Chinese opera is a comprehensive stage art style with a long history. After the Han, Tang to Song, Jin to form a relatively complete opera art, it is composed of literature, dance, art, martial arts, acrobatics and performing arts, about more than 360 kinds.

It is characterized by the convergence of numerous art forms in a single standard, reflecting their individual personalities in a common nature.

After a long period of development and evolution, Chinese opera, together with Greek tragedy and comedy, and Indian Sanskrit opera, has gradually formed a Chinese opera Baihuayuan with five major opera genres as the core: Peking Opera, Yue Opera, Huangmei Opera, Ping Opera and Henan Opera.

Extended Information: History of Chinese Opera:

1. Sprout. In the primitive society, the villages inhabited by the clan produced primitive songs and dances, and with the gradual growth of the clans, the songs and dances gradually developed and improved. For example, in many ancient rural areas, there is still a long-standing tradition of singing and dancing, such as "Wu opera".

At the same time, some new songs and dances, such as "Shehuo" and "Yangge", were born to meet the spiritual needs of the people. It is these singing and dancing performances that have created batches of skilled folk artists, and they are moving towards the direction of opera little by little.

2. Prosperity. From the mid-12th century to the early 13th century, professional artistic and commercial performance groups and Song miscellaneous operas and Jin Yuan Ben reflecting the lives and views of the citizens gradually emerged, such as Guan Hanqing's Dou E's Injustice, Ma Zhiyuan's Han Palace Autumn, and Zhao's Orphan's Great Revenge. This period was a prosperous period for the opera stage.

3. Extension.

In recent years, the academic community has conducted in-depth research on Mei Lanfang's artistic performance system, and at the same time has conducted in-depth and debate on what is the spirit of Chinese Peking Opera and whether Mei Lanfang can represent the spirit of Chinese Peking Opera.

Research on Mei Lanfang's Performance Aesthetics System (by Zou Yuanjiang, People's Publishing House, August 2018 edition) analyzes and clarifies many misinterpretations in Mei Lanfang's research over the past hundred years, and clarifies what the aesthetic spirit of traditional opera is, what can be reflected on through Mei Lanfang's stage performance, and what enlightenment it can bring us, opening the prelude to the question of "the spirit of Chinese drama in the 21st century".

Can Mei Lanfang's performance system be established?

In 1982, Sun Huizhu put forward the proposition of "Mei Lanfang's performance system", believing that the Stanislavsky system is "truth-seeking", the Brechtian system is "good", and the Mei Lanfang performance system, which represents the artistic spirit of Chinese opera, is "beautiful". The author of the book proposed that the proposition of "Mei Lanfang's performance system" is difficult to establish through the discussion of the relevant interpretations of "Mei Lanfang's performance system" by Mr. Sun Huizhu and Ye Xiushan. The author believes that whether Mei Lanfang's opera performance can become a system depends not on how Mei Lanfang performs and how well he performs, but on how he performs like this.

"How can it be" is the core question of theatrical artistic expression, that is, the question of artistic concept. Mei Lanfang's performance system is just a theoretical presupposition constructed by Mei Lanfang and her fans with reference to Stanislavsky's "experience theory", among which the terms "experiencing the psychology of the characters", "portraying the characters' personalities" and "reasonable" are Chinese interpretations of Western theatrical performance concepts.

What is the starting point of Mei Lanfang's performance system? Plato believed that art is an imitation of the real world, and Aristotle also believed that (tragedy) is a serious imitation of an action of a certain length, thus laying the foundation for the 2000-year-old Western concept of art: art is an imitation.

Western theater art takes performance as the core, and the emphasis on the identity of the actor and the role is a reflection of this artistic concept. The so-called performance is not the performance of the role, but the performance of the "line", and the actor and the role have the "distancing" of the intermediary of "the line", which also makes the actors in the art of Chinese opera have the triple expressiveness of "narrator", "performer" and "commentator". It is in this sense that the author proposes that the core of Mei Lanfang's performance concept is not only performance, but imitation, so it is debatable whether Mei Lanfang's performance system can represent the spirit of Peking Opera in China.

The author further points out that the performance aesthetic system of dramatic art is not covered by the performance characteristics of a certain actor in a certain profession, but is expressed by the extremely complex program of different professions, but has a "family similarity".