Quyi is the art of the people, the voice of folk temperament, and the most deeply rooted popular cultural style in traditional society. It embodies the emotions, morals, and ethical traditions silently confirmed by the Chinese people's life experience, reflecting the eternal epic of the people. When I first came into contact with Quyi, there were three things that left a deep impression on me, but also some concerns: firstly, the traditional Quyi is particularly rich and diverse, with nearly 500 local Quyi genres across the country. With the decline of dialects, the current development is gradually tending towards "low, small, and scattered". Secondly, Quyi is particularly down-to-earth. It comes from folk brothels and houses, carrying the hustle and bustle of the market but not forgetting the high platform education. However, this traditional social "life atmosphere" is becoming precarious under the impact of the internet ecology, digital media, and entertainment industry. Thirdly, Quyi is a "literary light cavalry" with fast creation and convenient performance, which can quickly stimulate emotions and generate interest during singing and speaking. However, at the same time, Quyi has also developed a slightly slick "evening party style", sometimes even reduced to a seasoning for large-scale exhibitions. Quyi is a contemporary "national style" that originated from the lowest level of humanity and reaches the deepest depths of human nature and soul. Can Quyi break through the "evening party style" and explore independent and self-sufficient artistic creation paths? Can Quyi carry the spirit of the times, express major themes and narratives? The creation of the large-scale Quyi music, poetry, and painting "Isabella" is an important attempt by colleagues in the Quyi industry. Isabella Crook was born in Chengdu in 1915 and was awarded the "Friendship Medal" of the People's Republic of China at the age of 104. She passed away in Beijing in 2023. As an anthropologist who devoted herself to social research in the southwestern Yi Tibetan region, an internationalist warrior who participated in the World Anti Fascist War, and an important founder of Beijing Foreign Studies University, she chose China throughout her life. The life of this century old man, who is 108 years old, has witnessed the history of Chinese society from war to peace, from suffering to liberation, and the hundred year journey of the Chinese people from standing up, getting rich to becoming strong. In her own words, she participated in the epic social experiment of the world's largest human group. For musicians, this is an overly complex and unfamiliar subject matter. Successful works of art must start with a good creative motivation. The original intention of this "Quyi drama" is to explore the global significance of the Chinese revolution, the humanitarian value of the anti fascist war, and to praise the spirit of internationalism and the sympathy, dedication, and love behind it through Isabella's century long life. At the same time, we also hope that through this grand and unfamiliar theme, Quyi can attempt to express great history, carry great narratives, and express great romance. I have always believed that traditional folk art represents significant themes, not by "reducing the big picture to a small one", but by "exporting the big picture with small incisions and unfolding the big picture with small scenes". In Isabelle's story, there are the century long changes in Chinese society, the grand vision of the world anti fascist war, and a woman's emotional choice. We grasp the main theme of "I chose China" and use a four act structure of "Born in China", "Love in China", "Heart in China", and "Stay in China" to allow personal fate and the tide of the times to collide, and small history and big history to reflect each other. This not only demonstrates the vastness and heaviness of history, but also the sensitivity of art, the complexity and warmth of human nature. Quyi carries the enduring power of Chinese folk culture, and its vitality lies in its ability to constantly keep up with the times. On the premise of fully preserving and utilizing the artistic characteristics of Quyi, the creative team has made many new attempts. The key point, in short, is the spatialization of time and the agency of space. Firstly, the theme is the structure. Bringing Isabelle's story to the stage, the structure is the first hurdle. The creative team decided to break away from the conventional narrative of "chronicles" and push forward from the two ends of life, "100 days of birth" and "100 years of life" - Isabella, who was 8, 18, and 28 years old, and her self, who was 98, 88, and 78 years old, "headed in both directions" and met at Tiananmen Square on October 1, 1949. The story continues to evolve, memories keep flashing back, and the centenarian and the naive new life face each other across a long century, moving towards each other and ultimately merging into one. The small history of personal life and the big history of a nation also merge into one. During this process, countless choices in Elizabeth's life were highlighted. Every decision of fate is between the contradictory dialectics of the "unknown" facing the future and the "known" recalling the past, becoming both tense and natural. The audience is not watching history or listening to stories, but rather experiencing a person, feeling Isabella's rationality and emotions, inner struggle and destiny choices, and truly experiencing her adherence to justice, desire for peace, persistence in her career, and love for China. Secondly, there are multiple types of theaters. We have selected local music genres from 12 regions where Isabelle was born, worked, and lived, including Sichuan Qingyin, Hubei Dagu, Jingyun Dagu, Shaanbei Shuoshu, Sichuan Pingshu, Sichuan Yangqin, Sichuan Jinqian Ban, Changzi Gushu, Suzhou Pingtan, Pinghua, Kuaiban, and Sanxian. This is not a party style string of folk arts, but a highly structured thematic form. Quyi is not only a form of rap art, but also a form of dialect art. How can the diverse and integrated structure of local songs with different dialects be unified? This is a big problem, and I think Director Huang Hong has solved it very well. Firstly, Isabella is Canadian and has a natural English accent. Faced with purely foreign languages, various dialects seek common ground while reserving differences, making them less conflicting. Secondly, the symphony orchestra creates a grand and touching atmosphere, where all genres naturally blend together, standing out without being abrupt. Thirdly, these local genres match precisely with Isabella's life clues, destiny choices, and emotional tone, linking the protagonist's growth trajectory from an anthropologist to a communist soldier and then to an educator in New China. The 100 minute performance is rich and diverse, flowing naturally, with clear and unified levels. Again, spatial montage. The stage is divided into five functional areas: singing area, band area, host connection area, large screen imaging area, and screen projection area. The interaction and superposition of five regions create a sense of depth and richness on the stage, while also forming a spatial narrative structure of symphonic response. A large number of precious historical images are interspersed among them, echoing and reflecting each other with the live performances of the actors; Modern visual elements such as audio-visual multimedia are fully integrated, and time and space transitions are achieved through switching between lighting and sound effects. The addition of Chinese film bands has enhanced the expressive power of music accompaniment, creating a grand and majestic atmosphere for the music, poetry, and painting scene. It elevates and enhances the unique style of singing and dancing, greatly expanding and strengthening the audio-visual tension of the scene. All of this has changed everyone's usual impression of traditional folk art performances. After the premiere of 'Isabelle', some viewers said that 'through this work, I have rediscovered Quyi'. Some people also say that they have seen the infinite potential of Quyi in the future. Some people even say, 'Through the deeds of such an international friend, China's resistance against Japan and the world's anti fascist war have truly merged into one story.'. This is exactly what we hope to see - using Quyi, a popular form among the masses, to let more people understand the story of Isabella, an internationalist who "loved China for a lifetime", and to praise peace and friendship with the independent innovation of Quyi, so that the common values of all mankind can reach people's hearts. As an anthropologist, Elizabeth personally experienced a great social change in human history, the experience of the Chinese Revolution, the liberation of the Chinese nation, and the changing fate of countless Chinese people, which made her realize that the object of anthropology is not only humanity, but also the people. Isabella has always loved the fields and folk culture of China. After watching the premiere, her second son Ke Makai said, 'Telling my mother's story in the most down-to-earth form of art, Quyi, is itself the most appropriate choice.'. On the farewell stage, he couldn't help but repeat a sentence from his mother's later years - "Thank my parents for giving birth to me in China