BitabouttheartofmodernoperaoperaThinkingChineseoperacountingfromtheSongDynasty,ithasbeennearlyathousandyearsofhistory.Severalweathered,withseveralrain.Twentieth-centurysocialchangeoperatothenationalartmelteddownagain,hardening,forging,whichhaveshownnewlifeforms-operaopera,notsayingbecomethedarlingofthetimes,youchasemeholding,andtoreflecttherealityoflifeforthemissionofHenanOperamoderndramainthisperioditisparticularlybright,shiny.FoundingofNewChina,Chineseoperaartwillbeavigorousearthshakingreform,todate,therearehalfacentury.Needlesstosay,the“VillageINDUSTRYANDXianghunfemale>><<>>andanumberofisanexcellentrepresentativeofmodernoperaoperarepertoireandcreatorsareworkingasquicklyaspossibletogetridoftheoldideologicalfetters,toacceptoccasionaloldbodytoanewqualitativechangeinthequalityandvariability,improveartisticquality,andstrivetoenterintothenewcenturyaestheticdramamacro1serieswhich:step2lintothenewcenturyhasmatureditsmaturemainlyinthefollowingthreeaspects:.Cleverlysolvedusingtraditionaloperaartformofmodernlifeandtheconflictbetween‘two.Accumulatedanumberofconsiderablenumberoftheformandcontentofharmony,unityandnationalityofmoderndramamoderndramaoutstandingplays,bringstogethertheexperienceofsuccess,retainedtheclassicalrepertoire.III.Dramamoderndramahasbeenacceptedandwelcomedbythemasses,withbroad,deepaudiencebase,agoodmoderndramacanbeplayedhundredsofgames,thousandsofgames,oreventhousandsofgamesormore,particularlyinHenan,<<Chaoyanggou“stagedsofarmorethanenoughtohave3000games,operamoderndrama<<stubbornstubbornfather-daughter-biasedcase>><<>><<haplessuncle’smarriageVillageINDUSTRYAND“hadmorethandryfield.Consequently,thesehaveshownthatourdramamoderndramahasmaturedHowever,maturityisrelative,isthestage.referstotheso-called2matureartisticandaestheticcharacterofthemature,andtheaudienceaestheticstandardsaresubjecttoage,cultural,ideological,political,andotherfactorsarechanging.Conversionsentencesayingthatoneofthebasiccharacteristicsofmodernoperadrama,isareflectionofcontemporarylifeisdramamoderndramamustbecloselyfollowedwiththerapiddevelopmentofcontemporarylifeanddevelopment.Fromthispoint,dramamoderndramaisalwaysinanon-stopdevelopmentandchange-whetheritisideologicalcontent,orartform-which,therefore,hecanonlybeastageofmaturityandintegrity.Perhapsthisstageofmaturityandcomplete,itispreciselywherethelifeofmodernoperadrama-lifejustdoesnotstop,thereisabroaddevelopmentoperamodernoperaworld.Therefore,wecannotsaythematuritystagedramamoderndramahasreachedtheperfectposition,onthecontrary,thereisalotofproblems,youneedtocontinuetoaddressthecontradictionsmore.Forexample,intheformofideasandissues,reflectingthelifeofthesurfaceisnotwideenough,deepenoughtoreflectthecontentoflife:adecadeof3Palestinianstatealsocanaccuratelyshowtheperformanceofthecurrentsocial,publicspirit,etc.Theseproblemsareartsdramamoderndramacontinuousprocessofdevelopment,in-depthrepeatedproblems.Dramamoderndramatoinnovate,todevelop,shouldpayattentiontomodernityandnationalism,wecreatemoderndrama,wemustfirmlygraspthecharacteristicsofmodernity.Graspcharacteristicsofthetimesweneedourimmediateattention,wemustdepartfromlife,befamiliarwiththelifeandunderstandlifeNowsomedramalackoflife,thepursuitofgorgeous,aformalityanddoesnotgivetheaudienceinmindtremor.YanglanChunsaid:“Livinglifeandthenlife,”istotellus~ataxiNieartofthereason,thereisnolifei...