Hot Guide: Understanding the Characters, Embodying the Heroism of China's Modern Humorous Comedy "Rethinking Seventeen Years" and more contemporary masterpieces of China's plays originated from the 3 e d u teaching plan Abstract: Based on my own learning experience and practical experience, this paper summarizes and summarizes the theory from different aspects, and puts forward the importance, necessity and working methods of opera directors guiding actors to shape their roles. Keywords: drama director; Instruct actors; Role-shaping opera is a comprehensive performing art, and it is an art form centered on the comprehensive performance of actors singing, reading, doing and acting. As the organizer and director of this creative group, in addition to understanding the basic characteristics of their own art, that is, the art of comprehensiveness, formality, virtuality and rhythm, the art of second creation, and the art of organizing stage movements, there is a more important work link, which is to guide actors to create roles. Mr. A Jia once defined the job function of a drama director as follows: "A drama director should help actors improve their sense of responsibility for serving the people, help them understand the basic characteristics of drama art, and be good at using these characteristics to shape typical artistic images. This is a very important job for a drama director. " Therefore, it is very meaningful and necessary to explore how opera directors guide actors to shape their roles. First, the relationship between director and performance The word "director" was transplanted from western drama. Although countless ancestors actually worked as "directors" in the development of China opera, there is no exact professional title for the post of "directors" in China opera art. Obviously, the appearance of opera directors is the product of the blending of eastern and western cultures. So, how to understand and recognize the position of "drama director" in the history of China's drama art development? Marx said: "Nothing can proceed from the concept of nouns, but only from the objective reality of history". On the surface, there was no full-time director in the gestation period of China traditional opera. The work of "directing" is done by literati or other artists. There is a saying that "excellent performance is the guide". The art of directing is the art of creating dramatic performances. Where there is drama stage performance, there should be "directing art". It should be said that the value of drama directing art is finally reflected by the perfect presentation of drama performing art on the stage. It can be said that performance and director are inseparable twin brothers. The director's "guidance" and the actor's "performance" are all based on the aesthetic principles and creative laws of China's traditional operas. The success of a play depends on the final performance, and the main body of the performance is the actor's performance. It can be said that the perfect presentation of actors is largely based on the director's works. It is an important task for opera directors to help actors understand the essence of "experience" in opera performances and serve the role creation. (1) Drama originated from life is an exaggerated art, belonging to expressive art, and drama is a stage art originated from life but higher than life. Singing, reciting, doing, beating, hand, eye, body, method and step, the "four techniques and five methods" are the most basic external technical means on which the performing arts of traditional Chinese opera rely to shape characters, which includes procedural features such as exaggeration, conciseness, beautification, vividness and virtuality. Some people say that the program of Chinese opera is bound to the performance of Chinese opera, and only when the program is cancelled can it be free. Mr. A Jia said: "Without programs, there would be no China's operas;" Without experience, the inherent procedures cannot be broken through and developed. "It can be said that the program is the most important feature that distinguishes China traditional opera from other art forms. Mr. Gai Jiaotian, a famous Peking Opera performer, has observed the eagle's spreading wings attentively all his life. It is this spirit that imitates its shape and creates the unique Gaipai figure of "Eagle Spreading Wings". For example, in the model play A Red Lantern, Li Yuhe was put into a hellish cell by Hatoyama and forced to hand over his password. Li Yuhe was fearless in the crisis, but he was tortured. Party member's will to sing * * * will never be destroyed. So how to highlight a mighty and unyielding tall image of party member? At this time, the actor used a series of body movements, such as striding, cross-legged, turning around, throwing chains, etc., to accurately and perfectly complete the combination of the spirit and form of the role. Although actors don't have such life experience, they use drama-program skills and means to create their feelings about life. This is not a copy of life experience, but an indirect creation of life experience. " The experience and performance of Chinese opera is not a direct imitation of life, but a very strange and strong physical and psychological performance. (2) Starting from the characters, 1. Whether a play is good or not depends not on how fancy the style is and how wonderful the form is, but mainly on whether the actor's performance can hit the hearts of the audience and achieve both form and spirit. This requires not only the shaping of characters through performance, but also the support of emotion, reason and technology. On this basis, to create vivid characters, opera actors need to observe, feel, imagine and refine life carefully. Whether a play can convince people and whether the characters can make the audience linger is an important symbol to determine the success of a play. Without vivid characters, just like a decadent body, without the sustenance of the soul, it is impossible to exist in the world. A series of commendatory terms, such as "Living Song Wu" and "Living Cao Cao", are undoubtedly the best praise for opera actors in shaping their roles. A philosopher once said, "A man without a soul can only wait for death". Simple as it is, it has far-reaching significance. Cheng Ying was forced to torture Gongsun in Changde Han drama "Eight Righteousnesses, Whipping and Giving Court", and then watched the execution. Seeing the old man's painful appearance and Joule's tragic death in his arms, we can strongly feel the fierce struggle inside the characters. How to express it properly and how to form it perfectly, the old artists have created a unique skill of this play-"cavalry army". ("Biao Jun" performs in the opposite direction by combining a soft square towel, a mouth, sleeves and a whip. Difficult skills are very high). This work vividly and appropriately shows Cheng Ying's fierce struggle and mentality at home and abroad at this time. The left whip is helpless and painful, and the right whip is painful and cruel. Rising to the psychological level is an analysis of the characters' hearts and a manifestation of their internal and external contradictions. The creation of artistic means such as Bending the Horse Army fully reveals the inner contradictions of the characters and makes the play more attractive. 2. Dialectical relationship between experience and performance "Traditional opera experience is not a general emphasis on putting one's feelings into the image, but condensing such feelings in a high degree of technology, so as to achieve the same sensitivity of thinking as muscles and bones, so that experience and performance are highly combined, and relatively separated and transformed. If you don't know the particularity of experience, you can't understand how to combine experience, experience and performance to give full play to the powerful attraction of China traditional opera. " Experience should start from life and performance should start from technology, but obviously they are inseparable and dialectical unity. Experience and performance are dual, such as "starting to strive for hegemony ……" walking on the edge "and" riding a horse ",which are the concrete manifestations of technology's experience through life. It can be seen that the refinement of life movements can evolve into ornamental movements, resulting in formal beauty and procedural beauty, which is the embodiment of dialectical relationship. " Stage art is directly created by actors' bodies, thoughts and emotions. It should not only experience life, but also accurately express life, not only the creator of the role, but also the role itself. "There is an interesting thing about Liyuan Line: When Mr. Mei Lanfang rehearsed Broken Bridge (White: Enemy, Singing: Who is Right and Who is Wrong), he had a gesture gently pointing at Xu Xian's forehead. Without good cooperation, Xu Xian's actor almost fell to the ground, and Mr. Mei Lanfang quickly reached out to hold him. However, such a small accident fully shows Mrs White Snake's love and hate for Xu Xian. This action became a reserved action in future performances. Teacher Mei can turn the accidents on the stage into interesting details in the play precisely because he fully grasps the characters and can live in them. Only by being sensitive to sensory experience can we improvise an action performance that conforms to the role's ideological logic and personality. Traditional Chinese opera performance should be based on emotion and oriented by emotion. Tang Xianzu, a famous scholar, said, "ordinary love is hard to complain about. ".Yes, external actions should be driven by inner feelings. Without feelings, there is no sublimation of art.. "The actor's art is an eternal story. He is both an outsider and a dramatist. In and out of the play, there is an eight-truth story. "These incisive expositions reveal the essence of the experience and performance of the performing arts. (3) Grasping the prescribed situation Grasping the prescribed situation is the basis for the actor's action. It is an extremely important link for directors to help actors figure out their psychology and guide them to shape their roles by analyzing their roles. "Because China traditional opera actors are often unconsciously controlled by rich stylized means, they ignore the study of the prescribed situation". First of all, the director must let the actor have a role in his heart and let the actor know who he is playing. What kind of personality do you have? At the same time, let the actors grasp the unique character of the characters they want to shape. I have seen such a movie "Stealing Fairy Grass". Everyone knows that Zi is pregnant at this time. In order to save Xu Xian's life, she had to go to Nanshan to steal Lingzhi Xiancao. At this time, it was stipulated that the White Snake was pregnant. In order to show her technical skills, the actor completed some difficult skills on the stage, such as turning the keys, climbing the tiger upside down and spinning around the stage. Although China traditional opera belongs to expressive art, it is not advisable to express it just for the sake of expression. Because of the different viewpoints and artistic accomplishments of actors, some actors can reasonably use these skills in specified situations, while others can't, but leave the scene to show their talents. Only when the director gives accurate guidance to the actors in these aspects can the shaping of the actors be icing on the cake. (d) tap the potential of actors, foster strengths and avoid weaknesses, and demonstrate the skills of "understanding actors and adapting to local conditions". When directing the actors to shape their roles, the director of traditional Chinese opera should first understand the actors. If the director of Chinese opera doesn't know the actors, it's like sailing in the sea without coordinates, and there is no way to start. The director should fully mobilize the enthusiasm and creativity of the actors in the rehearsal, listen to the guidance, and let the actors consciously enter the role creation. When directing a play, the director should also know what kind of actors, what kind of expertise and skill level they have, and make a reasonable division of labor to help the actors develop their strengths and avoid their weaknesses. Even if Mr. Cheng has a dull voice and is tall, how difficult it is to play a female role. However, he avoided the shortage of his own natural conditions and "chose people to be vulgar", creating a gloomy and resentful Cheng school singing and distinctive dance movements, mainly tragedy. According to his own characteristics, Mr. Zhou created a vigorous and powerful "style" playing style, which was unique and unique. Three. Conclusion Today, with the continuous development of society, the opera art should develop healthily and steadily, and the role of the opera director can not be ignored. When directing actors to shape their roles, Chinese opera should firmly grasp the thinking of "acting stories by singing and dancing". Guide the actors to create roles within the framework of China traditional opera art forms, develop on the basis of inheriting the tradition, and constantly innovate in the process of development. Popularize the aesthetic knowledge of traditional Chinese opera and improve the audience's artistic appreciation and aesthetic taste. Help the audience to overcome the aesthetic barriers caused by different habits of appreciating garden art, and make China traditional opera art have more audiences and be accepted by more people. More boutiques come from 3 e d u teaching plans.