The Research On Ajia's Chinese Traditional Opera Theory

Drama is the art of the stage,which is around the stage to the actors performances, the audience has to be achieved. Chinese traditional opera as well. In this paper, the theoretical study of Ajia is also a drama to Chinese traditional opera stage, actors and audience to different aspects such as carried out.First, in Chinese traditional opera art view, Ajia holds the real of Chinese traditional opera is the art of the stage the true, to distinguish it from real life. It is hypothetical, it is through the actor's "many" and "less", "virtual" and "Real", and "shape" and "God" to be embodied in dialectical relationship. Second, the Ajia's theatrical performance that is the basis of Chinese traditional opera "program." Chinese traditional opera Program is the actor's singing, reading, doing, playing, stage time and space, and so work performance program. Meanwhile, AJia also believes that the program only in the re-innovation on the basis of inheritance, in order to reflect modern life in order to broaden their performance in the field, and finally to his art to heritage. Again, the actor's performers starting point for Ajia theory research. The experience of Chinese traditional opera performers and performance is the combination of the dialectic. A actor's experience that the experience of a living, psychological, is the program, and the emotional experience, etc., which is different from the experience of Stanislavsky. In addition, AJia also believes that the actor only in the experience of Chinese traditional opera, based on the performance of the real character of the opera performances. Finally, A theory of Chinese traditional opera down a foot in the audience. Unlike Brecht's "strange",Chinese traditional opera performance a view that although there are "pad play" sort of alienation, but it is to better attract the audience, so that the audience understand the plot.