What do you think of the current opera culture? How to revitalize local opera culture?

There are many reasons for the decline of traditional Chinese opera. I tried to say a few points. First of all, it is wrong to say that everything is going downhill. Some operas are still very marketable, such as shadow play in Qinghai, Shanxi Jinju, Shaanxi Qinqiang, Henan Henan Henan Opera, Huangmei Opera, Yue Opera and so on. They seem to be developing well at present, but their decline has only been delayed for a while. But personally, I don't think this is a decline, it's just a historical law. At present, Chinese opera has only reached a low point, not declined. It's like changing dynasties in history. The same is true of China's traditional operas in history. Yuan Zaju declined and developed into a legend in Ming Dynasty. The elegant part declines and the flower part prospers. The current opera is in this transitional period. Another reason is that Chinese opera seems to be going downhill now. There are subjective and objective reasons. Subjectively speaking, there are some problems in opera itself. For example, makeup problems, performance problems, content problems and so on. Cosmetic problems directly affect the content. Because the makeup of traditional Chinese opera inherited the Ming costume, a small amount of clear costume was introduced, as well as complicated water gauze locks, helmet covers, headdresses and so on. These things are hard to be accepted in the expression of modern clothes, but if modern clothes are used, the opera will lose its picturesque beauty (every actor on the opera stage is like a China ink painting). In addition, some opera actors only know the program when performing, but they don't know that the performance outside the program is more important than the performance inside the program. It is easy to perform well after practice, but what is outside the program depends on the actor's performance skills and observation of life (this situation is rare in Kunqu opera). Finally, the content is not in line with the modern times. The classic plays that can be preserved are not only "Taking the Tiger Mountain Outside", "The Story of the Red Lantern" and "Shajiabang", but also those that are really preserved and often performed. No play can be reserved for regular performances. Even the above three plays were preserved with the strong support of the state. The real country does not need support, and the plays that can often be performed are still old classics. What about objectivity? I'm talking about the audience. Nowadays, there are fewer and fewer audiences who can understand opera, which leads to no one who can understand opera with strong expressive force (sad). There is also a misunderstanding that people appreciate opera by "listening" rather than "watching". This makes the stage performance of Chinese opera lost in this concept. China traditional opera is an art form that integrates music, dance, art and performance. Simply speaking and listening only see its musicality and ignore its other three characteristics. In addition, the ten-year Cultural Revolution did great harm to China traditional opera, not only the date of actors, but also the audience. A performance without an audience is like a commodity without a market. If there is no market, it will naturally be eliminated. Also, modern people are impetuous, and no one wants to calm down a little and taste the opera. When he really tastes it, he will love it. There are more than 300 kinds of operas in China. I don't believe that there is no music suitable for you. As long as you are willing to listen. It's best not to say that you don't understand, because when you really understand the music system of China traditional opera, it's easy to understand. Some people say that the fast pace of modern life and the slow singing of Chinese opera are hard for ordinary people to accept. I think this is wrong. If the opera is really slow, you can listen to Xipi Liushui and Xipi Allegro in Beijing Opera, Ba 'er and Ba 'er Lianban in Henan Opera, Duality and Small Flowing Water in Qin Opera, and the Second and Sixth Generation Boards in Qin Opera. I believe some of them can't catch up. Another thing I have to say is the dialect of local operas. Most local operas are suitable for their own dialects, which makes it easy for some audiences to understand the lyrics, and it is not difficult to understand why fewer and fewer people like them. To revitalize, to put it simply, we mainly need the cooperation of three aspects. First of all, we need to attach importance to performance, expand the capacity of costumes, keep the content close to the masses, cultivate new audiences, popularize traditional Chinese opera knowledge and explain appreciation methods. Secondly, the audience should support the traditional art, listen carefully to the content, take the initiative to understand the opera, understand the music system, know how to appreciate, and not exclude the opera culture. Finally, the state should increase publicity, reduce state intervention and give full play to the role of the market. Let me talk about my views on drama education. I think drama education is very important. Whether it is local opera or Beijing Opera or Kunqu Opera, it at least occupies a certain proportion in music education in primary schools. Children should have some contact, and should not have a sense of resistance to opera from an early age. There should also be a certain proportion in language and history. Now in the People's Education Edition, all the contents about Peking Opera are optional. I don't think this will attract students' attention. At least there is a question in the multiple-choice question with history. (I haven't finished writing)