Core Viewpoint - The "One Yuan Theater" model has gained popularity in various regions, providing affordable access to traditional opera, thus promoting cultural transmission and addressing public cultural service needs [1][2][3]. Group 1: Cultural Impact - The "One Yuan Theater" initiative allows audiences to enjoy traditional performances at a minimal cost, effectively bridging the gap between the public and the arts [1]. - This model has revitalized traditional opera, attracting a large audience and creating new opportunities for the preservation and promotion of cultural heritage [2]. - Young actors are gaining valuable experience through increased performance opportunities, addressing issues of talent loss and industry gaps [2]. Group 2: Public Cultural Services - The initiative exemplifies a combination of government support, market operations, and social participation in public cultural service provision [3]. - Various regions are mobilizing social organizations and businesses to support cultural events, ensuring sustainability through community involvement and funding [3]. - The "One Yuan Theater" not only delivers cultural experiences but also fosters community engagement, allowing local audiences to participate actively in the arts [3]. Group 3: Community Engagement - The success of the "One Yuan Theater" lies in its ability to engage the community, making them both audience members and active participants in cultural activities [3][4]. - By encouraging local involvement, the initiative helps to root cultural practices within the community, ensuring long-term sustainability and appreciation of the arts [4].

Core Points - The "Lingnan Cantonese Opera Week" series of events commenced in Guangzhou on November 21, 2025, themed "Bay Area Dream Building, Cantonese Melody Flowing" [1] - The event features 28 activities across five main themes, showcasing the classic charm and innovative vitality of Cantonese opera and music [1][2] - The opening performance highlighted young talents from the Cantonese Opera Art Museum, aiming to instill Cantonese culture in children [1] Summary by Sections Event Overview - The event is organized by the Liwan District Cultural, Radio, Television, Tourism, and Sports Bureau and the Guangdong Provincial Drama Association [1] - It will run until November 30, 2025, featuring classic performances, master classes, themed exhibitions, and hands-on experiences [2] Performances and Activities - The first performance, "Drunken Red Years," commemorated the 100th anniversary of the birth of renowned Cantonese opera teacher Hong Xian Nu and the 40th anniversary of the establishment of the "Red Class" [1] - Notable Cantonese opera artists performed classic segments to honor Hong Xian Nu's contributions to the art form [1] Cultural Significance - Liwan is recognized as the core area for the origin and transmission of Cantonese opera and music, having established a provincial-level ecological protection experimental zone for Cantonese culture [2] - The district hosts multiple intangible cultural heritage projects and has over 50 private Cantonese opera clubs, conducting more than a thousand performances annually [2]

"德艺双馨 继往开来""百花齐放 推陈出新"——北京市丰台区万泉寺400号，中国戏曲学院大门上16个浮雕篆字遒劲有力，透出熔古铸今的艺 术底蕴。 走进校园，喊嗓声、京胡声、锣鼓声不绝于耳，梨园新秀们在这所"国字号"戏曲教育最高学府里练功成长。 "戏曲是中华文化的瑰宝，繁荣发展戏曲事业关键在人。"2020年10月23日，中国戏曲学院建校70周年之际，习近平总书记回信勉励学院师 生，肯定学校办学取得的可喜成果，对他们传承发展好戏曲艺术提出殷切期望。 5年来，总书记的谆谆嘱托落地生根，戏曲艺术正在薪火相传中绽放出璀璨的时代风华。 在教学相长中探寻艺术真谛 "想要和观众产生心灵的共振，首先要让自己被角色'附体'。"83岁的刘长瑜满头华发，抬手比出兰花指动作如行云流水。眼波流转间，一个 才思敏捷、性情活泼的花旦形象跃然人前。 作为师承荀慧生、曾经出演过《红灯记》《卖水》《桃花村》等经典剧目的花旦名角，刘长瑜的艺术生命精彩而绵长。5年前，她是给习近平 总书记写信的中国戏曲学院师生之一。今年，她又满怀激情地回到母校，走进国家艺术基金2025年度艺术人才培训资助项目——"刘长瑜花旦表演 艺术人才培训"的课堂，手把手教起学生来 ...

虞文兵主演的黄梅戏《太阳山上》剧照。 虞文兵供图 每次演出前的黄昏，我总爱一个人坐在窗前，看夕阳斜斜地照进来，微尘在光柱里被染成金色的星。 第一次读《太阳山上》的剧本，就是在这个时刻。一口气读完，又反复品读最后一幕李安本11分钟的独 唱，泪水不自觉滴落，落在纸张上。那一道阳光的弧线里，我似乎看到一条蜿蜒山程，无数身影在时代 洪流中向上攀登。李安本是其中一个，我也是其中一个。 我的思绪被拉回儿时乡村小屋的门前，"黄莺树上声声唱……"旧收音机的声音略显沙哑，母亲边洗菜边 跟着哼唱。儿时的我，戴着一顶自己做的纸扎"盔帽"，攥着两条毛巾"水袖"，跟着戏音起舞。那时觉得 能学戏就是实现梦想。 我的母亲曾是一名农村班社的花旦，做什么都爱哼着黄梅戏，我也跟着哼。初二那年，我走出山村，去 往市黄梅戏校学戏。初来乍到，我甚至连调门是什么也搞不清楚，"我大抵是没什么天赋。"也是从那一 刻，我为自己定下了"努力练基本功"的信念。我是幸运的。成长路上，有很多前辈、老师不吝赐教，用 心传授方法、经验，指引我不断向前、向上。 演员和角色的相遇，应该是有一种缘分的。《太阳山上》中的李安本并非传统戏曲中脸谱化的英雄，而 是一个有着明显性格缺 ...

近期举办的第十四届中国艺术节上，杨霞云、楼胜等演出的婺剧《三打白骨精》，陈丽君、李云霄等演 出的越剧《我的大观园》，观者如云。《三打白骨精》自2023年首演以来，演出100多场；《我的大观 园》自2025年1月首演以来，演出超50场；同样由陈丽君与李云霄演出的《新龙门客栈》，过去一年里 就完成了200多场的驻场演出。3部作品以骄人的演出成绩，显示出来自市场的认可。与此同时，它们也 引起广泛讨论，甚至是一些争议。总的来说，戏曲界给予《三打白骨精》的多是肯定，而后两部越剧 的"出圈"则引来不同声音：这是戏曲创新，还是流量效应？是推动了戏曲的发展，还是将戏曲通俗化 为"音乐剧"，削弱了戏曲的艺术价值？ 戏曲创新之难，不在于各传统剧种之间的较量，而在于和话剧、音乐剧等演出形态的同台竞技。尤其要 注意，对当代青年观众来说，戏曲、话剧、音乐剧都是"剧"，哪个好看看哪个 最近几年，戏曲创新的成果格外引人关注，也引发了热烈讨论。 由于文本结构的根本差异，3部作品的创新方向也随之不同。《三打白骨精》情节并不复杂，从杨霞云 出场变脸、变装到后面"三打"等场面，几乎都突出演员精彩的身段，突出"文戏武做，武戏文唱"的精髓 ——观众席 ...

Core Points - The project "Research on the Literary Value and Organization of the Yeshizangben of Fuliancheng" has recently been launched at the National Peking Opera House, aiming to publish and study a significant collection of Peking Opera scripts [1][2] - The Yeshizangben consists of 29 volumes and 381 scrolls, encompassing 294 plays and over 16,000 pages, including classic and unique works from various Peking Opera schools [1] - The project is supported by the National Publishing Fund for 2025, highlighting its importance in connecting traditional and modern Peking Opera [1] Group 1 - The Yeshizangben preserves the original and early forms of each play, providing insights into the artistic heritage and development of the Fuliancheng school [2] - The publication of the Yeshizangben is expected to fill gaps in the history of Peking Opera and its education, allowing for the potential revival of certain plays on stage [2] - The project is a significant step in exploring the literary and artistic value of Peking Opera, as stated by the president of the National Peking Opera House [1][2]

Core Viewpoint - The performance of the Peking Opera "The West Chamber" in Hefei marks a significant cultural event, part of a larger initiative to promote traditional Chinese opera and engage the community through various performances and activities [1] Group 1: Event Overview - The "The West Chamber" is a key performance in the "Hundred Operas Enter Anhui · Star Shine Hefei" theme event, which started on September 28 and will continue until the Spring Festival of 2026 [1] - The event aims to invite representatives from various opera genres across the country to perform over 100 classic shows in Hefei [1] Group 2: Community Engagement - The initiative will also feature over 100 performances of local Anhui operas, including Huangmei Opera, Huiju, and Lujun Opera, to promote cultural accessibility [1] - Activities such as "Good Plays in Anhui · Invitation to Hefei" will encourage community participation, bringing opera into neighborhoods, schools, and rural areas [1] - The goal is to transition opera culture from stage appreciation to active participation, fostering innovation and heritage preservation [1]

Core Viewpoint - The performance of the Jiangsu Wuxi Xiju Theater's "Pearl Tower" in Vienna highlights the cultural exchange and appreciation of traditional Chinese opera, showcasing the elegance and lyrical quality of Xiju, a national intangible cultural heritage [1] Group 1: Event Details - The performance took place on the evening of the 21st at the Muet Theater in Vienna, Austria, attracting a diverse audience [1] - "Pearl Tower" narrates the story of a scholar's rise and fall, reflecting the themes of fate and social status [1] - The event is part of the 2025 "Chinese Opera Performance Season" and the international exhibition series of Chinese opera [1] Group 2: Audience Reception - Audience members expressed admiration for the unique singing style and movements of the performers, noting the differences from Austrian theater [1] - The audience's enthusiastic response included prolonged applause, indicating a positive reception of the performance [1] - The theater's director emphasized that art transcends borders, highlighting the engagement of the audience as participants in the experience [1] Group 3: Future Events - The performance season is organized by the China Opera Research Association and the International Cultural Exchange Cooperation Association (Europe), with support from the Ministry of Culture and Tourism's Art Development Center [1] - Upcoming performances in 2025 will feature eight different styles of Chinese drama, including Wuju, Guiju, Kunqu, Yueju, Yangju, Qinqiang, Xiju, and Huaiju [1]

Core Insights - The Wuju opera "Three Strikes on the White Bone Spirit" has gained significant popularity since its premiere in 2023, performing over 120 shows in 25 countries, indicating a strong demand and interest in traditional Chinese opera [1][4] - The production showcases the potential for traditional art forms to evolve and resonate with contemporary audiences, blending traditional techniques with modern storytelling and technology [1][5] Summary by Sections Artistic Innovation - The opera emphasizes breaking away from "museum-style protection" of traditional arts, transforming performance techniques into a dynamic narrative tool that serves character development [2] - The character portrayals, such as Sun Wukong's nuanced emotional expressions and the multi-faceted representation of the White Bone Spirit, highlight the depth and relatability of the characters [2][4] Integration of Technology and Performance - The production incorporates various performance elements, including influences from other Chinese operas and modern technologies, creating a visually captivating experience [3] - Innovative stage designs and the use of drones for sound effects enhance audience engagement, demonstrating a successful fusion of traditional and contemporary elements [3] Audience Engagement and Cultural Relevance - The opera resonates with contemporary societal values, addressing themes of perseverance and justice, which align with the aspirations of modern audiences [4] - The production adapts its content to connect with diverse audience demographics, ensuring that both traditional and modern elements are appreciated by all age groups [4][5] Cultural Sustainability - The success of "Three Strikes on the White Bone Spirit" exemplifies that traditional Chinese opera can thrive as a living culture, provided it maintains a balance between traditional essence and modern expression [5]

Core Viewpoint - The article highlights the life and achievements of Liu Changyu, a renowned Peking opera artist, who has dedicated over 70 years to the art form and continues to contribute to its legacy through teaching and performance [3][8]. Group 1: Career Achievements - Liu Changyu was awarded the "Lifetime Achievement Award in Drama" at the 19th China Drama Festival, recognizing her extensive contributions to Peking opera [3]. - Throughout her career, she has starred in numerous traditional and modern operas, including "Red Lantern," "Selling Water," and "Spring Grass Breaks into the Hall," creating many memorable artistic characters [3][6]. - Her portrayal of Li Tie Mei in "Red Lantern" became iconic after the film adaptation was released nationwide in 1970, solidifying her status as a classic hero in the hearts of the audience [7]. Group 2: Artistic Development - Liu Changyu began her formal training in Peking opera at the age of 9, demonstrating a strong work ethic and resilience despite her mischievous nature as a child [4][5]. - She received guidance from notable mentors, including the Peking opera master Xun Huisheng, who helped her refine her performance skills and understand the essence of character portrayal [5][6]. - Liu's innovative approach to performance includes incorporating elements from other art forms, such as dance and acrobatics, to enhance her roles, as seen in her performance of "Spring Grass Breaks into the Hall" [6]. Group 3: Teaching and Legacy - At over 80 years old, Liu Changyu remains active in teaching Peking opera, designing courses for the next generation of performers, and passing on her knowledge and skills [8]. - Her commitment to the art form is evident as she expresses gratitude for the support she received from the state and aims to contribute to the preservation and promotion of Peking opera for future generations [8].