Research On Chinese Opera Performance In Chinese Animation

From the perspective of the creator,this paper analyzes the creation mode,opera theory and changes of opera performance style of animation performance,and concludes that the core of theatrical animation performance style should be the Confucian concept of " Zhi Zhong He",rather than the aesthetic standard of "Zhong Zhen",more should not stay in the style representation such as "sing,read,do,fight".In the opera performance,this idea of “Zhi Zhong He” is split into "Zhi Zhen(means“ultimate truth”)" and "Zhong He(means “harmony”)",two oppositional and unified attitudes towards the emotions of the characters.From "Xiang Jun" in "Nine Songs" to Mei Lanfang’s emotional control in "Farewell My Concubine",it has always been the style of performance;While the performance style is changing constantly in the history of opera,which has no fixed style representation.Thus,in the integration of animation and opera performance styles,the only constant is the emotional expressions of the character of "Zhong Zhen".And the performance style that controls the character’s emotion is the key to the integration of the two.Through the representation of performance style,we can know that there is no fixed representation of performance style for animation itself.The "Sheng Fa Xing" imagination path is a creative method of acting for animation,which can ultimately present a variety of animation performance styles.And with the development of opera performance,it has a very clear performance style representation,such as "singing,reading,doing,fighting" and other basic performance movement elements,the whole movement and temperament of singing and dancing,performance divided types by gender,age,civil and martial industries,etc.Thus it can be seen that the integration of opera and animation is actually that of the style of opera performance and the creative way of animation performance,which returns to the practical problem of too little emotional expression of the characters in Havoc in Heaven.Due to the lack of sufficient practical experience to fully support the theoretical core of theatrical animation performance,this paper finally summarizes the following correction and assembly directions by means of theoretical derivation,that is "based on the natural expression of characters’ emotions,taking the style representation of opera performance as the perceptual material,with the imaginary path of ’Sheng Fa Xing’ as the creation mode,and with the concept of "harmony" as "perceptual fragmentation".And in this paper,"the most complex and in-depth performance to express the emotions of the characters as the creation standard of animation performance style" is taken as the theoretical core of theatrical animation performance.