China's ancient operas occupy an important position in China's literary and artistic garden. The difference between China's ancient drama and poetry, ci, prose and fu lies in that drama exists as a reading text, including plot, structure, customs, palace tune, qupai, diction and rhyme. It also has complex artistic forms, including singing, reading, doing, playing, stage setting, music accompaniment and so on. It is a comprehensive art .. Therefore, it is a complicated historical process for China opera from germination to maturity. Its development is not only a clue and a source, but also has a long history in content and form. In short, it originated in the pre-Qin and Han Dynasties, brewed in the Sui and Tang Dynasties, formed in the Song Dynasty, flourished in the Yuan Dynasty and evolved in the Ming and Qing Dynasties. Today, China Opera has developed into an opera family represented by a national opera-Peking Opera, which is composed of many local operas. It still enriches people's cultural life and brings countless joys to everyone. There are two main clues to the development of China's ancient operas. First, from the crosstalk performance of Xi You in the late Western Zhou Dynasty, to the corner play in the hundred plays in the Western Han Dynasty, and then to the military play in the Tang Dynasty, the story performance became increasingly rich and gradually became the main body of the drama. The other is from primitive song and dance to the formulation of "Nine Songs" in Sui Dynasty, and then to the performances of Dai Mian, Potou and Niangniang in Tang Dynasty. The folk song and dance art has made great progress, which provides a useful reference for the maturity of the official tune, qupai and rhyme of traditional Chinese opera. The Song Dynasty is a crucial period for the development of China opera. On the basis of joining the army drama, the Song Dynasty absorbed and integrated the achievements of song and dance art in previous dynasties and folk techniques such as speaking, singing, shadow play and miscellaneous costume, and integrated two clues of funny story performance and song and dance drama, resulting in new literary forms such as Song Zaju, Golden Melody, Golden Melody and Opera. In the Yuan Dynasty, Yuan Zaju, on the basis of Jin and Song Zaju, had all kinds of factors of mature opera and formed a spectacular development momentum. The Yuan Dynasty was the prosperous period of China's traditional drama. Yuan Zaju is mainly divided into Zaju and Nanju, each with its own development track. As the Southern Opera in the early Yuan Dynasty was in a weak stage of development, it could not compete with Zaju, so Zaju represented the highest literary achievement in the Yuan Dynasty. The reason why Yuan Zaju can reach the same status as Tang Poetry and Song Poetry with profound thoughts and exquisite art, and produce a number of works of art that will last forever is because a group of outstanding literati participated in the creation of traditional operas with their literary life, and their own literary literacy improved the aesthetic taste of Yuan Zaju, making the creation of Yuan Zaju exquisite and exemplary. Yuan Zaju has a complete artistic form, and the script is mainly composed of three parts: singing, guest singing and performance. In terms of system, Yuan Zaju takes discount as the unit, one is usually 40% discount, and others have 56% discount. In addition, there are one or two scenes in each book, called "wedges", which are placed before or between folds to introduce characters and plots. There are one or two pairs at the end of each book, which are called "getting to the point". In terms of music, Yuan Zaju has strict rules. Ten-fold drama only uses one set of songs, which are composed of different songs in the same palace tune, and the arrangement order of the same set of songs is relatively fixed. Yuan Zaju is sung in Beiqu, and its musical instruments are mainly pipa and other strings, and its style is bold and exciting. In terms of role setting, the roles of Yuan Zaju can be divided into three categories: final category, Dan category and net category. There is only one person to sing a play, Zheng Dan sings "the finale" and Zheng Dan sings "the drama". "Ke Fan" is used to express action expression or stage effect in Yuan Zaju, which is called "Ke" for short. In the past hundred years of Yuan Dynasty, the creation of northern zaju became popular all over the country, and a number of outstanding zaju writers and actors emerged, with thousands of plays. Famous playwrights include Guan Hanqing, Zheng Dehui, Bai Pu and Ma Zhiyuan. His important works include Grievance (Guan), Single Knife Meeting (Guan), Wangjiang Pavilion (Guan), Ghost Story (Zheng), Rain (Bai) and Autumn Colors in Han Palace (Ma). Wang Shifu, a great dramatist, created The West Chamber, which is the best in the world, and became the representative of the highest achievement in Yuan Dynasty. In the Ming and Qing Dynasties, while the popular vernacular novels made great progress and great success, the legends of the Ming and Qing Dynasties also ushered in the second peak in the history of ancient operas. Since the Ming and Qing Dynasties, China traditional operas can be divided into two categories: zaju and legend. However, the legends of Ming and Qing dynasties did not come into being out of thin air, but came down in one continuous line with Song, Yuan and Southern Opera. Nanxi, the abbreviation of Nanqu Opera, is a folk song and dance drama popular in Jiangsu and Zhejiang provinces at the end of the Northern Song Dynasty. By the end of Yuan Dynasty and the beginning of Ming Dynasty, there were four mature scripts, namely, Pipa, Chai Jing, Liu Zhiyuan White Rabbit, Moon Pavilion and Killing Dogs, namely, Jing, Liu, Bai and Killing Life. Pipa story is called "the father of southern opera" because of its high artistic achievements. It laid the basic pattern of legends in Ming and Qing Dynasties. Legends of Ming and Qing Dynasties evolved on the basis of Southern Opera, especially long scripts written in Southern Opera, which gathered the essence of Southern Opera and Yuan Zaju and became one of the important drama genres in Ming and Qing Dynasties. In the Ming and Qing Dynasties, legends were further developed than southern operas in content system and stage performance, and continued until the Qianlong period in the middle of Qing Dynasty, when legends were replaced by local operas. It can be said that from the early Ming Dynasty to the middle Qing Dynasty, the rise of local operas, this hundred years.