凡看过中国戏曲演出的人,都曾获得一种明确的印象:舞台上时间和空间的处理灵便而精当;或约减、或推移、或铺陈、或渲染,全在编导者一念之间,几至随心所欲的境地。京剧《文昭关》第三场,伍员唱了一段不过三十几句的唱腔,就算是度过了一个漫漫长夜,而且亮更后还“须发皓然”——真乃神速;《草船借箭》一折,孔明、鲁肃在桌旁一坐,就完成了乘舟往返于大江两岸之行,而且从“漫江大雾”中归来时还“满船是箭,装载不起”——可称方便;又如,以在《风入松》的曲牌中走“圆场”表现千里远 Those who have seen Chinese opera performances have obtained a clear impression that the time and space in the stage are handled with ease and precision; or that they are reduced or moved in time or laid out or rendered, all in the mind of the director, Few to the arbitrary situation. Peking Opera “Wen Zhaoguan” the third field, Woods sing for a period of thirty but a few singing, even spent a long night, but also after the light “must be issued Haoran” - really amazing; By the arrow “a discount, Kong Ming, Lu Su sat at the table, completed the boat trip to and from the two sides of the river, and from the” Man Jiang Fog “return” full boat is an arrow, can not afford to load “ - Can be said to be convenient; Another example, to go in the ”wind into the song“ Tunes go ”round field" performance far away