A Research On Traditional Opera Talents Cultivation

The development of Chinese opera is also a history of opera talentstraining practice. Generation after generation of Chinese opera performersexplored, in the spirit of the Chinese wisdom, potential of human body andart, creating for the world an impressive art form. Different from other stagearts, the cultivation mode Chinese traditional opera talents characteristicextremely. In the process of the development of Chinese opera, Chineseopera used to have low threshold for people who voluntarily becomeapprentices to earn a livelihood and this art form was carried on throughvarious cultivation mechanism and method. The apprentice challenged theirphysiological limits and exploited their own physical potential, under theguidance of noble spirit, pursing "hard" and "fresh" stunts. To become aactor also requires deepening the cultivation of offstage skills, such asfocusing on the humanities accomplishment, learning Chinese traditionalculture, improving the art of aesthetic theory accomplishment, toestablishing the lofty belief and the spirit of innovation. Abstraction of theopera in the process of practice "four work five method", and gradually form"type of roles ","virtuality " and " stylization ","free", and thecharacteristics of the schools. This thesis attempts to demonstrate thefunctions of the characteristics of opera aesthetics form by summarizing thecharacteristics of Chinese traditional opera talents, it is concluded that operais an art form that is carried by human and explore physical and artisticpotential to the fullest. It is focused on opera actor’s body language exercise.The body is the core value of Chinese opera, and bears the weight of theaesthetic value of Chinese opera.Based on such understanding, this project research is conducted fromthe perspective of opera talents training. It reveals the unique phenomenonin the opera talents cultivation and special regularity, demonstrate therelationship between the formation of opera aesthetics characteristics and talents cultivation, then draws the enlightenment about the development ofmodern opera.Declining popularity of opera, this research intends to set out from onthe cultivation of talents, transforming the current situation with thepeople-oriented attitude. Return to the market for survival, reform trainingmechanism and the methods, to constantly promote on the basis ofinheriting. At the same time, cultivating talents shoulders the responsibilityof the culture, which means to reconstruct the traditional aesthetic within thecontemporary context through traditional opera art.The paper mainly divides into four chapters. The first chapter discussesthe rule and characteristics of the traditional opera talents cultivation. It isdivided into two sections: the first section introduces the composition oftraditional opera talents, cultivation mechanism and methods. The secondsection discusses that opera survival pressure, prompts apprentice to developtheir own skills, challenge the physical limits and innovate on the basis oftradition.The second chapter discusses that to build an opera artist, in addition tothe skills, promoting personal experience and enhancing aesthetic ability areequally important. This chapter is divided into five sections, whichdeliberates respectively from the importance of humanities accomplishment,theoretical study and improve the aesthetic achievement, performance skills,setting up the lofty artistic beliefs and extensive learning and continuousinnovation. Since then on stage skills and off stage skills complement eachother, working together to promote the cultivation of excellent actors.The third chapter focuses on how training of opera promotes themaximum presentation of opera aesthetics. It elaborates respectively fromfour aspects, the presentation of virtuality, the presentation of free,demonstration of stylization and "integration"，and how "four work fivemethod" facilitates the appearance of various roles and schools. Opera actor training method is first determined by the aesthetic features of Chineseopera, and then in the actor’s training process, and the perfectly embody andconstantly enrich the Chinese opera aesthetics.The fourth chapter mainly discusses from the perspective of the operatalents training to deal with the status quo of Chinese opera. The first sectionilluminates that the main problems in the traditional opera is still to survive,which is the power of opera activities. The second section fromconsolidating audiences to ensure material basis and to develop in actor "generalists" and "professional" training mode to change the development ofopera. The third section analyzes the success of the youth edition of "thepeony pavilion", enlightening us on the opera talents cultivation. The fourthquarter elaborate on the necessity for the talent cultivating mode to return tothe tradition, must be conducted on the basis of inheriting traditionalinnovation development. Section5describes that opera talents shoulder theresponsibility of the cultural and historical mission.