For traditional Chinese opera stage performances, rhythm is crucial. It can depict the mood of characters, convey rich emotions, and shape character images. Actors need the support of various performance rhythms to advance one rank. If actors do not control the rhythm well, the drama will lose its charm and thus lose its infectiousness. The rhythm of theatrical performance is first reflected in the actors' interpretation of their roles. Actors need to adjust their performance state and rhythm based on differences in character, identity, age, and other factors. When portraying different roles, one must show different rhythms in order for the characters to be vividly portrayed. For example, Sun Erniang's nickname is "Mother Night Fork", so when she appears, she recites without any delay, and her movements when turning around should not be artificial, but should be crisp and decisive; For example, Du Liniang is gentle and gentle, and her rhythm when she appears should be gentle and soothing, showcasing the dignified and beautiful character. The agility of children and the composure of middle-aged people... all require actors to present their characters through precise performance rhythms, making them stand out on stage and deeply ingrained in people's hearts. In terms of traditional Chinese opera singing, it is important to grasp the rhythm, as there is a climax in a play and also a gap in interludes. This is like Chinese freehand landscape painting, if the painting is too full, it will lose its beauty. In the poem "Lin Chong's Night Run", there are two lines of recitation: "I want to send you to climb a thousand miles high, but the melancholy clouds lock onto Hengyang Road." The scene depicted in the poem, with the setting sun and dense clouds, reflects the low point of Lin Chong's fate and the vague future. When reciting, the word 'Chou Yun' should be spoken at a slower pace and the tone should be low and gradually weaken. This can not only show the sadness, anger, and desolation of the fallen grass and loyal character, but also lead the audience's emotions into a deeper and more subdued tone. This kind of blank space is a rhythm that is hidden in our common aesthetic feelings. Only by grasping it appropriately can we stimulate our appreciation of the beauty of blank space. The Four Skills and Five Methods are the foundation for actors to master rhythm. The four skills are singing, reciting, doing, and hitting, and the five techniques are hand eye body movements and steps. When actors integrate the four skills and five methods, they can become proficient in performance. Traditional Chinese opera may seem to use formulaic performances of the four skills and five methods, but in reality, the true essence lies in the subtle details. Traditional Chinese opera performances require a large number of subtle movements and expressions to support the actors' expression and advance the plot. The "eyes" in the "hand eye body technique" include various expression techniques such as smiling eyes, blurred eyes, angry eyes, fierce eyes, and drunken eyes, which are used to support the facial expressions of actors during performances. If we take "steps" as an example, different foot rhythms can make the audience feel the age difference of the characters. Han Shichang, the king of Kunqu Opera, once created the Huadan Step, taking small steps with the outside of the foot while holding the heel, fully reflecting the lively and agile nature of children. The footsteps of the old actress are like walking cranes, showing a steady and steady demeanor; The role of the female lead in the boudoir has a gentle and gentle gait, displaying a serene demeanor amidst the interweaving of steps; The flower faced characters, on the other hand, have powerful and vigorous steps, showcasing their formidable strength. On the basis of the program, actors should grasp the rhythm of opera performance based on their own understanding and conditions, and should not blindly copy it. Even when playing the same role, different performers will present different brilliant designs. For example, the performances of Hou Yongkui and Pei Yanling in "Lin Chong's Night Run" are not completely consistent. Mr. Pei's version incorporates more martial arts performance skills, which can showcase her talents and is suitable for herself. Mr. Hou pays more attention to showcasing the character's temperament. The two gentlemen also have different artistic treatments in terms of rhythm. This tells us that opera performances need to be tailored according to one's own conditions. The rhythm of the performance also requires the actor to enter the role state and think from their perspective about the logic of the performance, such as why this line uses this action or expression? Why is silence used as a blank space here? Taking Lin Chong, whom I once played, as an example, in "Lin Chong's Night Run", before he even appeared, he shouted "Ah Hi!" in the curtains. The plot here is that after setting fire to the grass field, Lin Chong secretly escaped at night and was recommended by Chai Jin to go to Liangshan. In theory, running away at night should be kept quiet as much as possible, but why did Lin Chong still shout? This is the unique "theatrical flavor" in Chinese opera. It expresses the mood and psychological state of the characters, while also telling the audience, 'Quiet down, I'm going to appear,' and then the audience will call the actors' meeting colors. Lin Chong, who was running at night, was really forced and helpless. He didn't want to go up the mountain and drop grass. I incorporated my own understanding and thinking into the rhythm control of this scene. Here's the 'fight' that Lin Chong tried to seize when he was pushed to the brink of despair by the social environment at that time, and the world turned around. Gao Qiu, discipline you and make the sea boil and the mountains shake. It was in such a state of mind and state that he let out that cry. The mastery of rhythm control skills in traditional Chinese opera is not something that can be achieved overnight. It requires the accumulation of time and continuous refinement, and more importantly, actors need to constantly break through themselves through learning and thinking, and have a deeper understanding of traditional Chinese opera. This refining process may take ten, twenty, or even longer. In the later stages of his career, Master Mei Lanfang's performance had reached a state of perfection. He no longer deliberately focused on specific forms of expression such as hands, eyes, body, and techniques, because he had completely "mastered" the character and merged with it. Based on my own performance experience, I also have a profound understanding of this. Back then, I accidentally got the opportunity to record "Lin Chong's Night Run" for CCTV, and I was extremely excited at the time. However, looking back years later, if I could have recorded this play a few years later and fully grasped the inner performance rhythm of the characters, then the performance would have been even more perfect. In addition, drama is not an art of one person, it relies more on clever coordination between two or more people. How to present subtle and profound emotional communication between characters requires constant adaptation between actors and between actors and bands. Accurately grasping the rhythm of the partner and interacting with them is the key to promoting the development of the plot, deepening character relationships, and displaying delicate emotions, which can fully unleash the charm of traditional Chinese opera. The purpose of theatrical performance is to present a good work to the audience, therefore, mastering the rhythm of opera and forming an emotional connection with the audience is also a crucial part. The key to establishing a connection with the audience lies in effective communication and interaction. As a performer, if you immerse yourself in your own performance and ignore the audience, it will cut off the bridge of communication with them. Actors need to communicate with the audience through their eyes and breath, establish visual and emotional bonds with the audience, and guide them to empathize with their characters. When you want the audience to applaud you, you must bring them into your performance rhythm. They will be immersed in the performance and naturally guided by your emotions, following your footsteps, experiencing the moments of your character's life, and cheering for your wonderful display. Under the persistence of generations of artists, the ancient art of traditional Chinese opera still shines with youthful radiance today. As inheritors, we need to constantly give it new connotations, strive for excellence in performance, and strive to ensure the continuous inheritance of traditional Chinese opera. (New Society)