“戏无情不感人,戏无技不惊人”,这句著名的梨园谚语言简意赅、准确地概述了中国传统戏曲艺术的舞台表现要领以及“技”与“戏”之间的辩证关系。 戏曲舞台上的“技”在传统上往往有广义和狭义之分。广义的“技”一般是泛指“唱、念、做、打”和“手、眼、身、法、步”——即常说的“四功五法”这些表演技法;狭义的“技”则是专指表演手段的单元,表演时所运用的技能技巧,即俗话所说的“东西”“玩意儿”,如水袖、出手、翎子、翻跌等特有的技艺。在戏曲演出中常常会听到戏迷观众这样去评价一个功底不好或技能水平差的演员的表演:“×××身上没东西?！”“嗨,他玩意儿不灵！”。中国戏曲观众希望看到演员对角色有准确的体验、把握、表现。同时,他们更希望看到演员有“东西”去表现角色的精气神。技巧运用是中国传统戏曲很有特色又非常独到的表现方法。 “The show is ruthless, touching and acting is not surprising.” This famous Liyuan Proverb concisely and accurately outlines the stage performance essentials of Chinese traditional opera art and the dialectical relationship between “technique” and “drama.” The “technique” in the drama stage has traditionally been divided broadly and narrowly. The broad sense of “technique” is generally referred to as “performing, striking, doing, playing” and “hand, eye, body, law, and step” “Refers specifically to the means of performance means, performance skills used in the skills, that is, the saying goes” things “” stuff “, such as water sleeves, shots, plume, tumble and other unique skills. In the performance of the opera, one often hears the audience performance of the audience in this way to evaluate a poor performance or skill level performance: ”× × × body no thing ?!“ ”Hey, he is not fun!“ Chinese opera viewers want to see the actors have an accurate experience of the role, grasp, performance. At the same time, they also want to see the actors have ”things" to show the essence of the role of God. The use of techniques is a very unique and very unique method of expression of Chinese traditional opera.