1. The four major schools of Peking Opera are Mei, Shang, Cheng and Xun, namely Mei School of Mei Lanfang, Shang Xiaoyun's Shang School, Cheng School of Cheng and Xun School of Xun Huisheng. Mei School is elegant, combining the characteristics of Tsing Yi and Hua Dan, and creating a unique floral shirt business. Drunkenness of the Imperial Lady is his masterpiece. Shang Pai is strong, and Shang Xiaoyun is good at kung fu, so she will play a strong heroine, such as Liang Hongyu. The representative work is Zhao Jun's The Embankment. Cheng Pai's voice is euphemistic and intermittent. Cheng's voice is unique. It has a "back tone", which is necessary in Hualien's singing, but unique in Dan Jiao's singing, and is called "ghost tone". Because of this, Cheng is suitable for expressing dignified, calm and tragic female images. Representative works include Tears in the Barren Mountains, Sorin Capsule, Young Women's Dream, Six Chapters in the Snow, etc. Xunpai, mostly Hua Dan operas, is good at playing innocent and lovely boudoir girls. Xun School sings sweetly, and its representative works include The Matchmaker, The Edge of the Iron Bow, The Edge of the Cabinet and so on.

Second, of course, China's traditional operas should be preserved. Hundreds of years of history are deposited in it. How can you just leave?

Third, I like this question. This is the direction of my undergraduate thesis. In my opinion, the reason for the decline of traditional opera now lies in the innovative theory that is clamored every day. Many people say that young people don't like going to the theatre, and they should innovate operas to cater to young people's tastes, but this has created a series of freaks without Beijing opera, drama, opera and symphony. It is a historical necessity for Beijing opera to move from "mass" to "niche", just as bean juice is a niche food. If you add ice cream to bean juice, will people who don't like it drink it? Just as we are making Peking Opera unrecognizable, some young people just want to know the authentic Peking Opera, but what they see is a four-unlike Peking Opera, which makes them hate Peking Opera even more and makes it even more embarrassing.

I do not deny the importance of innovation, but it depends on the actual situation. Many people say that Beijing opera has reached its peak because of the innovation of the four famous artists, so we should bring it to its present predicament, but they don't see that Beijing opera is completely different from Beijing opera in the period of the four famous artists. After the development of four famous artists, Peking Opera has become a very mature art, which has reached the aesthetic perfection in terms of clothing, makeup and singing. This kind of art has no need for innovation except to preserve the wealth left by our ancestors, just as people today can't write ancient poems like those in the Tang Dynasty.

Nowadays, people are clamoring for innovation every day, but even many classic traditional plays have not been staged. Nowadays, many opera fans think that only a few Peking Opera actors perform here and there, and Mei Pai can't escape Drunk Princess, Farewell My Concubine and Cosmic Front. Cheng School is Suolinnang, Six Chapters in the Snow, Dream of a Girl in Spring and Tears in a Barren Mountain. There are fewer actors and fewer plays, but they are all Zhao Jun's Embankment and Childless Madness. But in fact, there are many "four famous Dan" dramas, and most of them are lost now. For example, Biography of Hong Fu, which made Mr. Cheng one of the "four famous poets", can only be seen occasionally now, while Daughter's Heart and Autumn Night in the Palace of Chu, a famous playwright Weng Ouhong, will basically not be performed again.

There are also some new fashion dramas in the "Four Famous Dances", such as "Evil Waves", "Tide of the Official Sea", "Deng" and "A wisp of hemp" rehearsed by Mr. Mei Lanfang. "Revolutionary Family and One Yuan" rehearsed by Mr. Xun Huisheng; Mr. Shang Xiaoyun's Modern Wife, Beauty in the North, etc. But judging from the present situation, these plays have basically disappeared from the stage. On the contrary, these ancient Peking Opera, such as Drunk Imperial concubine, Lock Lin Niang, Zhao Jun's Journey to the Fortress, Matchmaker, etc., still exudes infinite charm, and they are often performed constantly, which makes people never tire of watching them. In the heyday of Peking Opera, the fashion drama compiled by the "Four Famous Dances" is still like this, not to mention today.

So our Beijing opera has entered a vicious circle. Young people desperately pursue tradition, while Peking Opera people desperately abandon tradition. Therefore, the author believes that we should focus on the preservation and restoration of traditional classic plays, and of course we can develop some experimental new Peking Opera appropriately, but this should not become the mainstream of Peking Opera.

There are too many operas all over the country. Beijing Opera and Kunqu Opera are national operas. Hebei has Hebei Bangzi, Henan has Henan Opera, Sichuan Opera and Shanghai Opera, Anhui has Huangmei Opera, Suzhou and Hangzhou has popular Yue Opera, Shanxi has Shanxi Opera, Yangzhou has Yang Opera, and so on. You can find their own characteristics on the Internet.

Sichuan Opera is very popular in Sichuan. But I don't know much about Sichuan opera. I have only met Qiu Jiang, so I dare not talk nonsense. Many documents believe that Qiu Jiang is one of the representative plays in Sichuan Opera, which has high artistic value. I think we can start writing Sichuan opera from Qiujiang.

The above is just a family opinion. Please forgive me if there is any mistake.