Core Perspective - The article discusses the rising popularity of the Yue opera "My Grand View Garden" and its impact on cultural tourism consumption, prompting industry reflection on creatively transforming the profound wisdom and unique aesthetics of traditional opera into contemporary art forms like drama and film, thereby expanding the boundaries of the national performance system [1][2]. Group 1: Traditional Opera Aesthetics - Traditional Chinese opera is rich and profound, providing a source of inspiration for the nationalization of the Chinese drama performance system [1]. - The essence of adapting opera aesthetics lies in borrowing its thinking methods rather than rigidly imitating its formal actions [1][2]. - The character-building "programmatic thinking" in Chinese opera, based on roles like Sheng, Dan, Jing, and Chou, creates a refined language system for character types, allowing actors to capture the essence of their roles [1]. Group 2: Successful Adaptation Examples - Successful adaptations do not aim to replicate the appearance of opera but instead integrate its essence into the rhythm and stylistic awareness of the actors' performances [2]. - Notable works such as Wang Xiaoying's play "Fu Sheng" and Tian Qinxin's "Green Snake" exhibit the spirit of traditional opera without overt opera symbols, showcasing the essence of Eastern aesthetics [2]. - The use of space in traditional opera, characterized by simplicity and the interplay of reality and illusion, is particularly valuable for adaptation, as seen in the bamboo raft scene in the play "Chinese Dream" [2]. Group 3: Contemporary Artistic Expression - The adaptation of opera aesthetics is a contemporary inquiry into tradition, seeking to express national spirit in a modern context, which is not a mere replication of ancient art forms [2]. - This approach allows the Chinese aesthetic gene to rejuvenate on the contemporary stage, paving the way for broader horizons in Chinese theatrical performance art through innovation while maintaining core values [2].