CHINESE OPERA’S STAGE FUSION AND DAN ROLE VOCAL PERFORMANCE INSPIRED BY WESTERN EUROPEAN OPERA
CHINESE OPERA’S STAGE FUSION AND DAN ROLE VOCAL PERFORMANCE INSPIRED BY WESTERN EUROPEAN OPERA

Summary/Abstract: This paper takes the realistic stage aesthetics of Western European opera as a reference to explore the evolution of contemporary stage design of Chinese traditional opera and its profound reshaping of the vocal performance of Dan roles (female roles). The dialogue between Chinese and Western stage aesthetics has moved from the conceptual level to the practical level, exerting a profound influence on the inheritance and innovation of Chinese traditional opera in the contemporary era. Adopting the research methods of comparative art studies and case analysis, this paper examines two representative works: The Red Cliff, a Peking opera staged at the National Centre for the Performing Arts, and The Palace of Eternal Youth, a Kunqu opera performed by the Suzhou Kunqu Opera Theatre. This paper analyzes how the integration of virtuality and reality shapes the performance ecology of Dan roles from three dimensions, the reconstruction of stage space, the transformation of prop functions, and the application of color psychology in stage costumes This multidimensional analysis helps to reveal the inherent interactive logic and aesthetic symbiotic relationship between the stage visual system and vocal art. The study manifest that the reference to opera realism and the application of digital technologies have given rise to the paradigm of “impressionistic realistic stage”, which has significantly enhanced the emotional tension in the vocal performance of Dan roles. Props have evolved from symbolic signs into narrative carriers, achieving the “integration of audio and vision” through physical resonance with vocal expressions. The colors of stage costumes have shifted from the traditional stylized system of “the five primary colors” (red, yellow, green, white and black) to dynamic psychological representations, becoming the “second vocal expression” for Dan roles to convey their emotions. The study indicates that under the guidance of the realistic concepts of Western European opera, the contemporary stage of Chinese traditional opera has realized the creative integration of traditional impressionistic aesthetics and modern realistic technologies. The vocal performance of Dan roles has transformed from a “solo presentation dominated by vocal expression” into a comprehensive art of “synergy between voice and stage presentation”. This transformation not only expands the artistic boundaries of Dan role performances, but also drives the development of the Chinese traditional opera performance system toward a more complete and modern direction. Such integration must be rooted in the essence of Chinese traditional opera to prevent technology from overriding artistic expression. This paper proposes establishing a collaborative creation mechanism for stage design and vocal expression, exploring the artistic application of intelligent materials in stage costumes, and constructing a cross-cultural evaluation system for the aesthetic of stage art. The integration of virtuality and reality can effectively enhance the audience’s emotional engagement and the synergetic effect of audio and vision, thus achieving a harmonious integration of vocal performance and visual elements.

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