Zhōngguó xìqǔ 中国戏曲 Chinese opera

 

gǔlǎo de xìqǔ

古老的戏曲 Ancient opera

zhōngguó xìqǔ, qǐyuán yú yuǎngǔ shíqí de yuánshǐ gēwǔ, yuǎngǔ xiān mín jìsì huò dédào láodòng shōuhuò shí wǎngwǎng yào chànggē tiàowǔ de. Jīntiān zài zhōngguó hěnduō dìfāng hái huì kàn dào gǔlǎo de gēwǔ xì, yīnggāi shì yuánshǐ gēwǔ de liúcún, lìrú “nuó xì”. Zhōngguó xìqǔ jīngguò hàndài, táng dài, sòngdài de fǎ zhǎn, zǒuxiàng chéngshú. Yuán dài shì zhōngguó xìqǔ shǐshàng de zhòngyào shíqí, chūxiànle “yuán zájù” hé xìjù jiā guānhànqīng, biāozhìzhe zhōngguó xìqǔ yìshù de quánmiàn chéngshú. Míngdài, xìqǔ yǒule gèng dà de fǎ zhǎn, chūxiànle kūnqǔ, tèbié shì chūxiànle xìjù jiā tāngxiǎnzǔ, tā xiě kūnqǔ de àiqíng gùshì jùběn “mǔdān tíng”, chōngmǎn shēnqíng hé mènghuàn zhīměi, bùzhī gǎndòngle duōshǎo rén. Jùshuō dāngshí hángzhōu de yī wèi nǚ yǎnyuán zài yǎnchū “mǔdān tíng” shí shēnqíng tóurù, sǐ zàile xìtái shàng. Dàole qīng dài, jīngjù dànshēngle. Jīntiān, jīngjù, píngjù, yuèjù, huángméixì, yùjù chéngwéi zhōngguó de “wǔdà jùzhǒng”, cǐwài, kūnqǔ, chuānjù, qínqiāng, jìnjù, héběi bāngzi, yuèjù, shàojù, lǚjù, zàngxì děng yě dū shì dà jùzhǒng. Jù bù wánquán tǒngjì, zhōngguó xìqǔ jùzhǒng yǒu 300 duō gè, yǎnchū de jùmù shù yǐ wàn jì, chuántǒng jùmù zuìduō, yěyǒu yīxiē xīn biān xiàndàixì. Zhōngguó xìqǔ, shì tōngguò gēwǔ shuōchàng lái biǎoyǎn gùshì, jùyǒu jí qiáng de yúlè xìng hé qùwèi xìng, hěn shòu mínzhòng de xǐ'ài. Qiān bǎi nián lái, kàn xì chéngle lǎobǎixìng shēnghuó zhōng zuì gāoxìng de shì, guònián guòjié huò yù shàng dàshì shì yīdìng yào kàn xì de. Jīntiān zài zhōngguó de xiāngcūn chéngzhèn hái huì kàn dào hěnduō gǔlǎo de xìtái.

中国戏曲，起源于远古时期的原始歌舞，远古先民祭祀或得到劳动收获时往往要唱歌跳舞的。今天在中国很多地方还会看到古老的歌舞戏，应该是原始歌舞的留存,例如“傩戏”。中国戏曲经过汉代、唐代、宋代的发展，走向成熟。元代是中国戏曲史上的重要时期，出现了“元杂剧”和戏剧家关汉卿，标志着中国戏曲艺术的全面成熟。明代，戏曲有了更大的发展，出现了昆曲，特别是出现了戏剧家汤显祖，他写昆曲的爱情故事剧本《牡丹亭》，充满深情和梦幻之美，不知感动了多少人。据说当时杭州的一位女演员在演出《牡丹亭》时深情投入，死在了戏台上。到了清代，京剧诞生了。今天,京剧、评剧、越剧、黄梅戏、豫剧成为中国的“五大剧种”，此外，昆曲、川剧、秦腔、晋剧、河北梆子、粤剧、绍剧、吕剧、藏戏等也都是大剧种。据不完全统计，中国戏曲剧种有300多个，演出的剧目数以万计，传统剧目最多，也有一些新编现代戏。中国戏曲，是通过歌舞说唱来表演故事，具有极强的娱乐性和趣味性，很受民众的喜爱。千百年来，看戏成了老百姓生活中最高兴的事，过年过节或遇上大事是一定要看戏的。今天在中国的乡村城镇还会看到很多古老的戏台。

Chinese opera originated from the primitive song and dance in ancient times. Ancient ancestors often sang and danced when they sacrificed or got the harvest of labor. Today, in many parts of China, we can still see ancient song and dance operas, which should be the remains of primitive song and dance, such as Nuo opera. After the development of Han Dynasty, Tang Dynasty and Song Dynasty, Chinese opera has become mature. Yuan Dynasty is an important period in the history of Chinese opera. The emergence of "Yuan zaju" and dramatist Guan Hanqing marked the full maturity of Chinese opera art. In the Ming Dynasty, opera had a greater development. Kunqu opera appeared, especially the dramatist Tang Xianzu. He wrote the love story script Peony Pavilion of Kunqu Opera, which was full of deep feeling and dreamy beauty. I don't know how many people were moved. It is said that at that time, an actress in Hangzhou devoted herself to performing Peony Pavilion and died on the stage. In the Qing Dynasty, Peking opera was born. Today, Beijing opera, Pingju opera, Yue opera, Huangmei Opera and Henan opera have become the "five major operas" in China. In addition, Kunqu Opera, Sichuan Opera, Qinqiang opera, Jinju opera, Hebei Bangzi opera, Guangdong opera, Shaoju opera, Lvju opera and Tibetan opera are also major operas. According to incomplete statistics, there are more than 300 types of Chinese operas, with tens of thousands of operas performed. Traditional operas have the largest number, and there are also some new modern operas. Chinese opera, which performs stories through singing, dancing, talking and singing, is highly entertaining and interesting, and is very popular among the people. For thousands of years, going to the theatre has become the happiest thing in people's life. It is necessary to go to the theatre during the Spring Festival or in case of major events. Today, there are many old stages in China's rural towns.

Zhōngguó xìqǔ de yìshù tèdiǎn

中国戏曲的艺术特点 The artistic characteristics of Chinese opera

 (yī) zònghé xìng de biǎoyǎn yìshù

(一)综合性的表演艺术 Comprehensive performing arts

zhōngguó xìqǔ shì yī zhǒng gāodù zònghé de biǎoyǎn yìshù. Zhōngguó xìqǔ bù xiàng gējù nàyàng zhǐ gē bù wǔ, yě bù xiàng wǔdǎo nàyàng zhǐ wǔ bù gē, gèng bù xiàng huàjù nàyàng zhǐ shuō bu chàng. Zhōngguó xìqǔ shì zàigēzàiwǔ, shuōchàng jiéhé, yǒu qíngjié gùshì de biǎoyǎn, tā rónghéle yīnyuè, wǔdǎo, chànggē, lǎngsòng, wǔshù, zájì, měishù, wénxué děng duō zhǒng yìshù, shì yī zhǒng gāodù zònghé de yìshù. Zhè zhǒng měi zònghé xìng hái tǐxiàn zài “chàng niàn zuò dǎ” zhè sì xiàng xìqǔ biǎoyǎn jīběngōng shàng. Chàng, shì chàngqiāng, jiùshì yǎnyuán gēchàng; niàn, shì shuōhuà, yě jiào “shuōbái”; zuò, zhǐ biǎoqíng, shǒushì hé shēnduàn; dǎ, zhǐ wǔdǎ, shì wǔshù yǔ wǔdǎo de jiéhé. Chàng, niàn, zuò, dǎ di zònghé shì wèile biǎodá jù zhōng rénwù de xīnlǐ, gǎnqíng hé xìnggé, sùzào chū xiānmíng shēngdòng de wǔtái rénwù xíngxiàng. Zhōngguó xìqǔ shì yǐ chàng, niàn, zuò, dǎ zònghé xìng biǎoyǎn wéi zhōngxīn de xìjù xíngshì.

中国戏曲是一种高度综合的表演艺术。中国戏曲不像歌剧那样只歌不舞，也不像舞蹈那样只舞不歌，更不像话剧那样只说不唱。中国戏曲是载歌载舞、说唱结合、有情节故事的表演，它融合了音乐、舞蹈、唱歌、朗诵、武术、杂技、美术、文学等多种艺术，是一种高度综合的艺术。这种每综合性还体现在“唱念做打”这四项戏曲表演基本功上。唱，是唱腔，就是演员歌唱；念，是说话，也叫“说白”；做，指表情、手势和身段；打，指武打，是武术与舞蹈的结合。唱、念、做、打的综合是为了表达剧中人物的心理、感情和性格，塑造出鲜明生动的舞台人物形象。中国戏曲是以唱、念、做、打综合性表演为中心的戏剧形式。

Chinese opera is a highly integrated performing art. Chinese opera is not only singing but not dancing like opera, nor dancing but not singing like dance, nor speaking but not singing like drama. Chinese opera is a performance with singing, singing and singing, and storytelling. It combines music, dance, singing, recitation, martial arts, acrobatics, art, literature and other arts, and is a highly integrated art. This comprehensiveness is also reflected in the basic skills of "singing, reading, doing and fighting". Singing, is singing, is the actor singing; Read, is to speak, also known as "speaking out"; Do, refers to the expression, gesture and body; Fight, refers to martial arts, is the combination of martial arts and dance. Singing, reading, doing and playing are integrated to express the psychology, emotion and personality of the characters in the play, and to create vivid and vivid images of the characters on the stage. Chinese opera is a form of drama centered on singing, reading, doing and playing.

(Èr) xūnǐ de biǎoyǎn fāngfǎ

(二)虚拟的表演方法 Virtual performance method

zhōngguó xìqǔ de biǎoyǎn gēn diànyǐng, huàjù, gējù de biǎoyǎn hěn bù yīyàng, tā wánquán bù shòu shíjiān hé kōngjiān de xiànzhì, cǎiyòng de shì yī zhǒng xūnǐ de fāngfǎ. Xūnǐ jiùshì yǐ “xū” dài “shí” de yìsi. Lìrú, zhōngguó xìqǔ wǔtái shàng de dàojù fēicháng jiǎndān, tōngcháng zhǐyǒu yī zhāng zhuōzi hé liǎng sān bǎ yǐzi, nà zhāng zhuō zǐ kěyǐ dàibiǎo hěnduō shìwù, tā shì zhuōzi, yě kěyǐ shì shān, fángwū, gāo qiáng, chénglóu děng, tā shì shénme, quán kào yǎnyuán de biǎoyǎn lái shuōmíng. Zài lìrú, wǔtái shàng méiyǒu zhēnshí de mén, chē, chuán, shān, mǎ, ér yǎnyuán yòng shǒushì, shēnduàn, bù fǎ jiù kěyǐ bǎ shēnghuó zhōng de kāimén, guānmén, zuòchē, huáchuán, dēngshān, qímǎ biǎoxiàn chūlái. Yǎnyuán yòng shǒu zuò chū kāimén de dòngzuò jiù biǎoshìle kāimén, shǒu ná yī gēn mǎbiān zǒulù jiù biǎoshìle qímǎ, ná zháo liǎngmiàn huàzhe chēlún de qízi xíngzǒu jiù biǎoshìle zuòchē, shǒu ná chuán jiǎng wǔdǎo jiù biǎoshìle chuán zài shuǐshàng xíng, sì gè bīngzú zài tái shàng yí zhàn jiù dàibiǎole qiān jūn wàn mǎ, yǎnyuán zài tái shàng zǒu yī quān jiù biǎoshì zǒule hěn zhǎng de lù. Zhè zhǒng mófǎng shēnghuó dòngzuò de xūnǐ de biǎoyǎn, bùdàn néng bǎ jùqíng jiāodài dé míngmíng báibái, érqiě néng shǐ guānzhòng zài xiǎngxiàng zhōng dédào měide yìshù xiǎngshòu. Xiǎnrán, zhè shì yǐ xíng xiě shén, zhuīqiú shénsì de zhōngguó chuántǒng měixué sīxiǎng de yìshù biǎoxiàn. Jǔ yī chū xì de lìzi. Zài jīngjù “shí yù zhuó” zhōng, jù zhōng shàonǚ sūnyùjiāo liǎngshǒukōngkōng, wánquán kào yǎnyuán de biǎoyǎn, bǎ tā hōng jī, wèi jī, shù jī, yǐnxiàn, chuān zhēn, xiùhuā, kāimén, chūmén, shí yù zhuó de qíngjié biǎoxiàn dé wéimiàowéixiào, yǎnyuán de zhè yīliánchuàn dòngzuò jízhōng tǐxiànle xìqǔ xūnǐ huà de biǎoyǎn tèsè, guānzhòng kànle shífēn mǎnzú.

中国戏曲的表演跟电影、话剧、歌剧的表演很不一样，它完全不受时间和空间的限制，采用的是一种虚拟的方法。虚拟就是以“虚”代“实”的意思。例如，中国戏曲舞台上的道具非常简单，通常只有一张桌子和两三把椅子，那张桌子可以代表很多事物，它是桌子，也可以是山、房屋、高墙、城楼等，它是什么，全靠演员的表演来说明。再例如，舞台上没有真实的门、车、船、山、马，而演员用手势、身段、步法就可以把生活中的开门、关门、坐车、划船、登山、骑马表现出来。演员用手做出开门的动作就表示了开门，手拿一根马鞭走路就表示了骑马，拿着两面画着车轮的旗子行走就表示了坐车，手拿船桨舞蹈就表示了船在水上行，四个兵卒在台上一站就代表了千军万马，演员在台上走一圈就表示走了很长的路。这种模仿生活动作的虚拟的表演，不但能把剧情交代得明明白白，而且能使观众在想象中得到美的艺术享受。显然，这是以形写神、追求神似的中国传统美学思想的艺术表现。举一出戏的例子。在京剧《拾玉镯》中，剧中少女孙玉娇两手空空，完全靠演员的表演，把她轰鸡、喂鸡、数鸡、引线、穿针、绣花、开门、出门、拾玉镯的情节表现得惟妙惟肖，演员的这一连串动作集中体现了戏曲虚拟化的表演特色，观众看了十分满足。

The performance of Chinese opera is very different from that of film, drama and opera. It is totally free from the limitation of time and space and adopts a virtual method. Virtual is the meaning of substituting "virtual" for "real". For example, the props on the stage of Chinese opera are very simple. There is usually only one table and two or three chairs. That table can represent many things. It can be a table, or a mountain, a house, a high wall, a city tower, etc. what it is depends on the performance of the actors. For another example, there are no real doors, cars, boats, mountains and horses on the stage, while actors can use gestures, posture and footwork to show the life of opening, closing, riding, rowing, climbing and riding. When an actor opens the door with his hands, he opens the door. When he walks with a whip, he rides a horse. When he walks with a flag with wheels on both sides, he rides a car. When he dances with oars, he goes up the water. When four soldiers stand on the stage, he stands for thousands of horses. When an actor walks around the stage, he walks a long way. This kind of virtual performance, which imitates the action of life, can not only explain the plot clearly, but also make the audience enjoy the beauty of art in imagination. Obviously, this is the artistic expression of the traditional Chinese aesthetic thought of Writing Spirit in form and pursuing spirit similarity. Take an example of a play. In Beijing Opera "picking up jade bracelets", the young girl sun Yujiao is empty handed and relies entirely on the performance of the actors to vividly express her plot of blowing the chickens, feeding the chickens, counting the chickens, threading the thread, embroidering, opening the door, going out and picking up jade bracelets. The series of actions of the actors embody the performance characteristics of the drama virtualization, and the audience is very satisfied.

(Sān) yōuměide biǎoyǎn chéngshì 

(三)优美的表演程式 Beautiful performance program

zhōngguó xìqǔ de biǎoyǎn chéngshì, shì zhōngguó xìqǔ yìshù biǎoyǎn tèyǒu de zhòngyào shǒuduàn, shì bǎ shēnghuó jiāyǐ tíliàn, kuāzhāng, měihuà ér xíngchéng de, zhè shì yī zhǒng yǒu guīzé de yōuměi dòngzuò. Lìrú, gège jùzhǒng dōu yǒu “qǐ bà” zhè chéngshì, tā shì biǎoxiàn wǔjiàng zhěnglǐ kǎijiǎ shàng zhànchǎng de dòngzuò, zhǔyào yóu tái tuǐ, tī tuǐ, zhěnglǐ yī mào děng yī chuàn wǔdǎo dòngzuò zǔhé ér chéng, dòngzuò wēiwǔ yōuměi. Zài rú, qiánmiàn shuō de kāimén, guānmén, qímǎ, huáchuán hé chàng, niàn, zuò, dǎ, dōu shì gùdìng de yōuměi de biǎoyǎn chéngshì. Yǎnyuán shúxīle zhèxiē chéngshì, jiù kěyǐ lìyòng zìjǐ de jīběngōng chuàngzào chū fù yú gèxìng de wǔtái yìshù xíngxiàng. Liǎnpǔ shì zhōngguó xìqǔ yǎnyuán miànbù huàzhuāng de yī zhǒng pǔ shì, zhè yěshì yī zhǒng chéngshì. Jù zhōng rénwù de liǎnpǔ zài gòutú, sècǎi fāngmiàn wǎngwǎng shì gùdìng de, bùnéng suíyì biàndòng, lìrú bùnéng bǎ bāogōng de liǎnpǔ huà zài zhāng fēi de liǎn shàng. Cóng sècǎi shàng kàn, yībān hóngsè biǎoshì zhōngchéng yǒnggǎn, hēisè biǎoshì gāngqiáng gōngzhèng, báisè biǎoshì yīnxiǎn jiǎozhà, jīn yínsè biǎoshì shénhuà zhōng de shénguài. Chǒujiǎo de liǎnpǔ zuì jiǎndān, yībān zài bíliáng chù huà shàng yīkuài báifěn jiùxíngle. Zhōngguó xìqǔ de biǎoyǎn chéngshì shì yī zhǒng měi de diǎnfàn. Méiyǒu chéngshì, jiù méiyǒu zhòng guó xìqǔ yìshùle.

中国戏曲的表演程式，是中国戏曲艺术表演特有的重要手段，是把生活加以提炼、夸张、美化而形成的，这是一种有规则的优美动作。例如，各个剧种都有“起霸”这程式，它是表现武将整理铠甲上战场的动作，主要由抬腿、踢腿、整理衣帽等一串舞蹈动作组合而成，动作威武优美。再如，前面说的开门、关门、骑马、划船和唱、念、做、打，都是固定的优美的表演程式。演员熟悉了这些程式，就可以利用自己的基本功创造出富于个性的舞台艺术形象。脸谱是中国戏曲演员面部化装的一种谱式，这也是一种程式。剧中人物的脸谱在构图、色彩方面往往是固定的，不能随意变动，例如不能把包公的脸谱画在张飞的脸上。从色彩上看，一般红色表示忠诚勇敢，黑色表示刚强公正，白色表示阴险狡诈，金银色表示神话中的神怪。丑角的脸谱最简单，一般在鼻梁处画上一块白粉就行了。中国戏曲的表演程式是一种美的典范。没有程式，就没有中国戏曲艺术了。

The performance program of Chinese opera is an important means unique to the artistic performance of Chinese opera. It is formed by refining, exaggerating and beautifying life. It is a regular and beautiful action. For example, all kinds of dramas have the program of "Qiba", which shows the general's action of arranging his armor on the battlefield. It is mainly composed of a series of dance movements, such as raising his legs, kicking his legs, and arranging his clothes and hats. The movements are powerful and beautiful. For another example, the above-mentioned opening, closing, riding, rowing, singing, reciting, doing and playing are all fixed and beautiful performances. When actors are familiar with these programs, they can use their basic skills to create a personalized stage art image. Facial makeup is a kind of facial makeup of Chinese opera actors, which is also a kind of formula. The facial makeup of characters in the play is often fixed in composition and color, and can't be changed at will. For example, the facial makeup of Bao Gong can't be painted on Zhang Fei's face. In terms of color, generally, red means loyalty and bravery, black means firmness and justice, white means insidious and cunning, and gold and silver means mythical gods and monsters. Clown's face is the most simple, generally in the nose painted on a piece of white powder on the line. The performance program of Chinese opera is a model of beauty. Without formula, there would be no Chinese opera art.

Yǎnyuán yǔ guānzhòng

演员与观众 Actors and audiences

zhōngguó xìqǔ shì zònghé xìng de biǎoyǎn yìshù, yīn'ér, xìqǔ yǎnyuán yào jùbèi bǐjiàohǎo de tiáojiàn. Yīgè hǎo yǎnyuán bìxū bànxiàng hǎo, shēncái hǎo, sǎngzi hǎo, yǎnjīng yào fù yú biǎoxiàn lì, yāo, tuǐ, shǒuzhǐ yào línghuó. Rènhé yīgè hǎo yǎnyuán dōu yào jīngguò chángqí de jīběngōng xùnliàn. Yǒu túchū chéngjiù de yìshùjiā de biǎoyǎn yìshù, wǎngwǎng xíngchéng liúpài. Rú jīngjù yǎnyuán méi lán fāng de biǎoyǎn yìshù jiào “méi pài”, mǎliánliáng de biǎoyǎn yìshù jiào mǎ pài”; píngjù yǎnyuán báiyù shuāng de biǎoyǎn yìshù jiào “bái pài”, xīn fèng xiá de biǎoyǎn yìshù jiào “xīnpài”.

中国戏曲是综合性的表演艺术，因而，戏曲演员要具备比较好的条件。一个好演员必须扮相好，身材好，嗓子好，眼睛要富于表现力，腰、腿、手指要灵活。任何一个好演员都要经过长期的基本功训练。有突出成就的艺术家的表演艺术，往往形成流派。如京剧演员梅兰芳的表演艺术叫“梅派”，马连良的表演艺术叫马派”；评剧演员白玉霜的表演艺术叫“白派”，新凤霞的表演艺术叫“新派”。

Chinese opera is a comprehensive performing art, so the opera actors should have better conditions. A good actor must be dressed up, well built, well vocal, expressive in eyes, flexible in waist, leg and fingers. Any good actor has to undergo long-term basic training. The performing arts of artists with outstanding achievements often form schools. For example, the performing arts of Peking Opera actor Mei Lanfang are called "Mei faction", and malianliang's performance art is called ma Pai; The performing arts of Baiyushan, a commentator, are called "white school", and xinfengxia's performance art is called "new school".

Gège jùzhǒng dōu yǒu zìjǐ de biǎoyǎn tèsè, jiù ná chàngqiāng lái shuō ba, jīngjù de chàngqiāng fēngfù yōuměi, qínqiāng de chàngqiāng shēnggāo hóngliàng, yuèjù de chàngqiāng wǎnzhuǎn qīnglì, yùjù de chàngqiāng liúchàng zhí bái, bāngzi de chàngqiāng gāo kàng xiǎngliàng, píngjù de chàngqiāng tōngsú zìrán, kěyǐ shuō shì gè jù tèsè, ér zhè quán yào kào yǎnyuán lái biǎoxiàn. Gège jùzhǒng wǎngwǎng huán yǒu zìjǐ de “juéhuó”, rú yōuměi de “shànzi gōng”“shǒujuàn gōng” shì hěnduō jùzhǒng de náshǒu jìyì, ér qínqiāng de “pēn huǒ”, chuānjù de “biànliǎn” gèng shì lìng rén jīngtàn de juéhuó. Biǎoyǎn juéhuó, duìyú yǎnyuán lái shuō, yāoqiú jiù gèng gāole. Zài zhōngguó, xǐhuān xìqǔ de guānzhòng shì xiāngdāng duō de, tāmen dǒng xì, huì kàn xì, duì tóng yīgè jùmù wǎngwǎng bǎi kàn bùyàn. Tāmen zhī zhōng yǒu hěnduō “xìmí”, kàn xì shí, duìyú zìjǐ chóngbài de yǎnyuán de chàngqiāng, dòngzuò, xìmímen huì gāo shēng jiào hǎo, jùchǎng qìfēn xiāngdāng rèliè. Kūnqǔ, jīngjù, guǎngdōng yuèjù, zàngxì jūn liè rù “shìjiè fēi wùzhí wénhuà yíchǎn mínglù”.

各个剧种都有自己的表演特色，就拿唱腔来说吧，京剧的唱腔丰富优美、秦腔的唱腔声高洪亮、越剧的唱腔婉转清丽、豫剧的唱腔流畅直白、梆子的唱腔髙亢响亮、评剧的唱腔通俗自然，可以说是各具特色，而这全要靠演员来表现。各个剧种往往还有自己的“绝活”，如优美的“扇子功”“手绢功”是很多剧种的拿手技艺，而秦腔的“喷火”、川剧的“变脸”更是令人惊叹的绝活。表演绝活，对于演员来说，要求就更高了。在中国，喜欢戏曲的观众是相当多的，他们懂戏，会看戏，对同一个剧目往往百看不厌。他们之中有很多“戏迷”，看戏时，对于自己崇拜的演员的唱腔、动作，戏迷们会高声叫好，剧场气氛相当热烈。昆曲、京剧、广东粵剧、藏戏均列入《世界非物质文化遗产名录》。

Each drama has its own performance characteristics. Take the opera as a case. The opera has rich and beautiful singing, Qin opera has a high voice, Yue Opera is graceful and elegant, the opera of Henan Opera is smooth and straightforward, the opera opera has high and loud singing, and the opera is popular and natural. It can be said that it is all performed by actors. Each drama often has its own "unique work", such as beautiful "fan skill" and "handkerchief skill" are the masterpieces of many dramas. The "fire spraying" in Qin opera and "face changing" of Sichuan Opera are even more amazing. The performance is excellent, and for the actor, the requirements are higher. In China, there are quite a lot of audience who like opera. They know the play and can see the play. They often have a lot of attention to the same play. There are many "fans" among them. When watching the play, the fans will shout their praises for the singing and actions of the actors they adore, and the atmosphere of the theatre is quite warm. Kunqu Opera, Beijing opera, Guangdong Guangdong opera and Tibetan opera are all listed in the list of world intangible cultural heritage.