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Appreciation Of The Clothing Culture Of The Youth Version Of The Peony Pavilion

2013/8/3 11:22:00 259

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Youth Version Of The Peony Pavilion Clothing Culture Peony Pavilion

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 drama < a target= "_blank" href= "http://www.91se91.com/" > dress < /a > is an important means of shaping the stage image. Western dramas use realistic techniques to highlight the unique personalities of drama personas through the individualized differences of costumes. Chinese operas adopt a freehand way to create a typed stage image through dress regulation. The costumes of Kunqu Opera are strictly programmed, and they are directed towards the code of "pierced rather than wrong". The Peony Pavilion, a youth version of Kunqu Opera produced by Mr. Bai Xianyong, kept the basic features of traditional costumes while expanding the artistic function of traditional costumes, updating the design concept of opera costumes and reflecting the new aesthetic feeling of traditional costumes. The success of the drama not only provides a new way for opera costumes to serve the modern stage, but also provides an important example for the modern inheritance of Kunqu Opera. 
 in recent years, Mr. Bai Xianyong has assembled the "a href=" http://sjfzxm.com/news/index_f.asp "Kunqu" youth version "Peony Pavilion" < /a > (hereinafter referred to as "Peony Pavilion") successfully created by the three artistic elite of the two sides of the Taiwan Strait. A large number of young audiences are not blindly following the Peony Pavilion, which is inseparable from the unique charm of the play in many aspects such as script adaptation, music production and stage performance. This article only takes stage costumes as an example to explore the mystery of its success. 
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 > strong > 1, a href= "http://sjfzxm.com/news/index_h.asp" > strong > drama costumes /a > strong > the expansion of artistic function < > >
 Kunqu costumes, also known as "costumes", are part of stage art. In traditional Chinese operas, costumes are combined with make-up to complete the shaping of the external image of the feet. Kunqu costumes are also an important object of opera appreciation, because their materials are mostly satin, embroidered with flowers and exquisite workmanship, which can add color to the stage, brighten the characters, and stimulate the audience's interest in watching. Besides, Kunqu costumes are also an integral part of Kunqu opera performing art. Because of the various forms of costumes and repeated use, the various performing arts around the clothing came into being, and the integration of costumes and performances became the characteristics of Kunqu Opera. 
 The Peony Pavilion has more than 200 sets of costumes on the stage. While maintaining the basic features of traditional costumes, the designers boldly innovate and highlight the stage idea centered on actors' performances, greatly expanding the artistic function of traditional costumes. 
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 1, highlighting the character image /p >
 traditional Kunqu Opera focuses on singing, and the production and use of stage costumes are determined by the economic strength of the troupe. However, even if the troupe has enough financial resources, it will not buy a specific "a" target= "_blank" href= "http://www.91se91.com/" > clothing /a for different historical dramas. Because carrying too many clothes is not convenient for touring, so we should adopt a multi service method and gradually develop into a general set of clothing regulations. Opera costumes are closely related to industry, but they have little to do with specific dramas. The design of "Peony Pavilion" focuses on highlighting the characters. Each set of costumes and costumes of the Peony Pavilion takes into account the shaping of characters, with unique qualities, which can not be replaced or universal. 
 such as "soul separation", Du Liniang's spirit of death is immortal. Under the patronage of Flower God, he wears a scarlet cloak and goes to the black bottom. He looks back at a smile. This red like a bright light goes to the stage, igniting the hope of "resuscitation". The contrast between the red cape of Li Niang and the contrast of the white dress and the black bottom of the flower god has a strong visual impact, which is amazing. This dress is obviously personalized, only for the sake of Li Niang, not to mention that its play can not be applied, even if the other parts of the Peony Pavilion can no longer be used. 
 > like "the judgement of the Ming Dynasty", the protagonist is Hu Guan Guan and Du Liniang. The dress of Hu Yuan Guan uses bright bright red official uniform, while Du Liniang is accompanied by plain white pleats and lengthened water sleeves. In the images of many characters, the costumes of these two characters are short and long, thick and thin, contrasting sharply, giving the audience a strong visual impact, highlighting the two artistic images in different situations of "trial" and "trial". Costumes become an important tool for character creation - Li Niang's costumes are different from traditional dresses and have unique personalities. Therefore, they become an important catalyst for the audience to understand and understand characters, thus enhancing the interaction and interaction between the audience and their roles. 
 is like Yang Po's dress. The Peony Pavilion changed Yang Po from the original clown to a knife horse Dan with young tail. Yang Po's costume is the most beautiful one of the whole drama, which is decorated with head ornaments, shining in style, and dressed in pink, peach and gills and beautiful sword dance. A bright artistic image stands out in many roles, which naturally attracts the attention of the audience and receives the most enthusiastic applause. 
 like the dress of the twelve Flower God. Loose style, soft material, light front and hem, blend fairy's elegance and divine romance into the costumes. What is even more difficult is that each flower god's headgear and body clothing are of different shapes and designs, and show different colors and colors to the garden. 
 in short, the stage dress of the Peony Pavilion serves the portrayal of characters, the use of different costumes by different characters, and the same costumes on different occasions, which not only satisfy the audience's pursuit of richness in vision, but more importantly, through the personalized costumes, it highlights many different characters of different faces. {page_break} 
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 2, service stage performance /p >
 drama as a piece of music on the scene, its artistic charm can only be bloomed on the stage of drama. Zhou Yibai, a dramatic historian, once said, "the play script is set for performance. No more than other styles, only for desk appreciation. In the field, it is more important than the desk. Mr. Zhou has revealed the essence of opera - Opera is the art of actors performing stories in public. The Peony Pavilion takes the stage as the center to make screenplay adaptation and stage creation, beautifying the stage through selected costumes and serving the performers. Mr. Bai Xianyong said that to enable Kunqu opera to continue its artistic vitality, it is an indispensable factor to become younger. In order to narrow the distance between the young audience and the Kunqu Opera, the Peony Pavilion group is based on attracting young audiences to enable them to enter the theater and enjoy the stage performance. Therefore, it strives to integrate the costumes with the performances, beautify and strengthen the performances through the visual impact of the costumes, and make the performance of the actors more appreciating. 
On the stage of "P", "Peony Pavilion", because of the proper choice of style, weight and texture, costumes and actors' movements are in harmony, showing special rhythmic beauty. For the opera costumes Li Yuceng said: "easy to wear soft clothes, so that surrounded by the surrounding, it seems that you can not allow yourself". As he said, opera costumes should not bind the actors' body movements, but should create conditions for the actors to express their emotions. Unfit or too heavy clothing will affect the actors' movements and create obstacles to the shaping of the drama. 
 in order to express the unique charm of Kunqu Opera and create a unique stage performance vocabulary, the "Peony Pavilion" costumes are mostly made of the fabric of George and silk. These soft and luxuriant fabrics give people a sense of elegance and sparkle. And when these costumes are combined with actors' movements, the beauty of intelligence, lightness and elegance in actors' bodies can be presented. Such as the use of water sleeves, scarf, plumes and so on, not only enriched the performance vocabulary of the stage, but also left the audience with broad imagination. Du Li Ni and Liu Mengmei's love scenes were hard to express in the play, but because the artist fully exerted the role of retractable, collusion and winding of the sleeves, the "erotic scene", which was easily criticized, appeared to be warm, bold, elegant and reserved. It made people think and join together, and was attracted by the contemporary audience. It is also because of the distinctive features of the costumes and the complement of the performance. Therefore, the drama professor at the California University of the United States, after watching the performance of the Peony Pavilion, excitedly said, "this is the greatest song and dance drama I have ever seen. Their figure is so beautiful that the poetry is alive by the talented actors. The costumes are amazing and beautiful, like the clouds around the actors." This is the case. When the actors finish the performance of singing and playing in the beautiful stage costumes, the rhythms and rhymes of the costumes are displayed. The characters in the play are more vivid and outstanding, and the charm of Kunqu Opera is also reflected in reality. 
 update on the design concept of opera costumes. Kunqu costume is a popular costume style which is formed in the Ming Dynasty. This dress is simple and complex, and a set of "Twelve colors" costumes is enough to cover all kinds of people in social life. Its style, texture, pattern and color are strictly regulated, and there are strict rules for the elements of different dress and dress, and the code of "wear rather than wear wrong". 
The stage costumes of "Peony Pavilion" have not changed the appearance of traditional opera costumes in general. They generally follow the principles of industry, and adopt the deep garment system. The styles of flower embroidery and all kinds of costumes are obviously beyond the scope of "ancient costume". However, in the specific dress design, the "Peony Pavilion" clothing has absorbed the aesthetic ideas of Western drama costumes and highlighting individuality, and has integrated into modern - especially modern cities advocating simple and elegant aesthetic consciousness, and has made valuable exploration and innovation on the basis of traditional opera costumes design concept. 
 strong > 3, not thin tradition 
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 the youth version of the Peony Pavilion has maintained the formal stipulation of the traditional costumes of Kunqu Opera. It is mainly reflected in the following aspects: 
 clothing design generally follows the traditional style. The traditional Kunqu Opera includes head, helmet, python, leaning, plucking and headdress, boots, < a target= "_blank" href= "http://www.91se91.com/" > shoes < /a > accessories. The costumes of the play are also composed of these parts, and are divided according to the types of business that are born, Dan, pure and ugly. If Liu Mengmei wears pleats, Dai Wensheng scarf and thick bottom boots, the shape of fans is the typical costume of traditional Kunqu Opera, while the use of pleats, sleeves, jackets, jackets, vests, supplementary clothing, pythons, leaning, Phoenix cords and colored shoes is also different from tradition. 
 clothing color is not divorced from tradition and follows the "programmed" color principle. The "program" of the color of the costumes refers to the rules followed in the color of the costumes when actors or roles play stage roles. According to Zhao Qimei's "Mai Wang School notes, school based ancient and modern drama" "pass through", the colors of the costumes include red, green, green, white, yellow, blue, black, brown tea and so on. These colors belong to different clothing components and wearing roles, forming different types of wearable characters. Besides the decoration, clothing color has the functions of other trades, Ming and the humble, and commendatory and derogatory functions. For example, the different colors of Li Niang and Chun Xiang dress have different functions, such as "being a dream". 
The ornamentation and texture of P also reflect the traditional costumes of Kunqu Opera. In the Peony Pavilion, the costumes are mostly embroidered with flowers, and the expression of character is shown in the "gentle" of the costumes. For example, a series of changes in Liu Mengmei's costumes: the "plum blossom" pattern on the white pleat, the bamboo pattern on the white pleat; the peach pattern in the "pictorial painting"; the orchid pattern in the "coy"; the peony pattern in the "marriage walk"; and the chrysanthemum patterns in the "Hang Hang" show the elegance and Gao Jie of the master's temperament. The "Peony Pavilion" is made of fine silk from Suzhou. Not only is the silk used for the main raw materials of the dress, but also the workmanship is undertaken by the famous embroidered mother and famous factory in Suzhou. Borrowing flowers to beautify the stage, highlighting characters, choosing silk to make clothes and highlighting features are all extensions of Kunqu costume tradition. 
 besides, the Peony Pavilion is rich in costume and keeps the classical spirit of the traditional Kunqu Opera. Like other traditional Chinese arts, opera costumes focus not only on the decoration of external forms and skills, but also on the experience of the inner spiritual world. The designer integrates the modern conception of stage into the costumes, and the more than 200 sets of clothes reflect the unique beauty, charm and inclusiveness of Chinese opera costumes. This is in line with the Chinese traditional culture's advocation of nature and the pursuit of harmony between man and nature. For the stage costumes, Qi Ru Shan once said, "the costumes of the Fu country drama are also... And realistic play < a target= "_blank" href= "http://www.91se91.com/" > clothes < /a > naturally can not be mentioned in the same breath. It has a special rule, that is, regardless of the dynasty, regardless of the cold and hot weather, only according to the moral character and the moral character of the people, how can the clothes be worn? " The same is true of the Peony Pavilion, which reflects the freehand brushwork of stage performance regardless of dynasties and seasons. Such as "brigade mail", Liu Mengmei went to Beijing to test in the late winter. He felt the chill of the wind, and his pale gray silk dress was floating around. Though the thin clothing could not keep out the cold, it drew the image of a poor scholar. 
 this shows that the design concept of the youth version of "Peony Pavilion" not only deviates from tradition but inherits tradition and gives this new content. {page_break} 
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 4 is based on the contemporary .
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 drama is the art of "actors performing stories". Its core is performance, so the audience is an important aspect that can not be ignored. Sasse, a French drama theorist, pointed out: "this is an indisputable truth: no matter what kind of drama is written, it is always written for the sake of gathering to some audience. This is its essence, which is a necessary condition for its existence. Without audience, there would be no drama. 
 the words of the two essentials of Drama: actors and spectators. It can be said that the purpose of Bai Xianyong's "Peony Pavilion" is to achieve the contemporary inheritance of Kunqu Opera, and "the future of Kunqu Opera lies in training young actors and attracting young audiences." In order to attract the audience, the designers of the Peony Pavilion integrated the western drama costume concept and the aesthetic ideal of the modern audience into the costume design, reflecting the eclecticism of the design concept. This design is manifested in: 
 1) from personalization to personalization of roles: /p >
 opera costumes are characterized by industry, typology and general play. The designers of the Peony Pavilion inherit tradition but do not stick to tradition. While maintaining their style of dress, they are also concerned about the personalization of their roles. 
 first, design the single dress according to the individuality of the drama role. Traditional Kunqu costumes generally do not emphasize personalities. They are treated only as personalities. The characters are all performed by actors. 
The clothing of the P Peony Pavilion is tailored to the character of the actor and the figure of the actor. Each dress has its unique charm. Like Du Liniang's image, she is a lady who lives in a boudoir. She looks reserved and docile, but her heart is hot and rebellious. In order to express her individuality, the butterfly pattern was used to symbolize her desire for love and freedom. This dress is unique to Li Niang, and it is inappropriate to apply to other dramas such as Yang Guifei. The traditional Kunqu Opera is easy to wear and the actress is not fat and thin. The play is a target= "_blank" href= "http://www.91se91.com/". The designer "/a" is customized for each actor according to the plot and role personality. When performing, the actor's body curve is clearly visible, and the actor's shape and beauty can also be extended in this design. 
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 secondly, design personal clothing according to the different circumstances and mood of the characters. Traditional Kunqu opera costumes are generally divided into three categories, one is the public uniform, according to the system, all levels of civil and military officials are dressed when they go up to the grand hall or perform their duties. Secondly, they are casual clothes, that is, the nobility household clothing or civilian clothes. Three, for the Hu suit, they are used for ethnic minorities, foreigners, and other special clothing for specific feet. There are not many changes in specific occasions, such as mourning for mourning clothes, special status, such as poor students wearing rich clothes, etc., but in the Peony Pavilion, there are several sets of costumes based on different circumstances of roles. In the drama, Liu Mengmei used more than ten sets of costumes, and there were some differences in the costumes at different stages of his fate: the words "Huai" came out, and Gao Jie, whose characters were represented by bamboo patterns, did not use the traditional rich clothes, but highlighted the poverty of the role with the color and style of the costumes. Another example is the dress of Du Liniang's ghost. After the death sentence, Du Liniang accepted the judgement in the underworld after death. He used white lengthened water sleeves. This special dress was accompanied by the faint sound of the sound, which showed Li Niang slowly coming out from behind the scenes, fully displaying the sad feeling of the characters. 
 again, design group costumes according to the needs of drama content. Ancient Chinese costumes require "women's clothes to be dependent on husband and son", "Peony Pavilion" < a target= "_blank" href= "http://www.91se91.com/" > Fashion Designer < /a > also use clothing to hint the role relationship, but with the development of drama plot constantly changing, reflecting the innovation of design concept. 如采用“情侶 ”裝設計柳夢梅和杜麗娘的服飾:二人初次相遇在《驚夢》一出 ,柳夢梅白色褶子上點綴著梅花、杜麗娘服飾則用蝴蝶圖案，巧妙地表現了“蝶戀花 ”之愛情主題和對浪漫愛情的執著癡迷;在《回生》一出 ,二人同用大紅披風 ,披風＜a target="_blank" href="http://www.91se91.com/"＞帽子＜/a＞上以一藍條破色 ,在這藍條上繡著不同的圖案 ,柳夢梅用蝴蝶 ,杜麗娘用梅花 ,恰似兩心相吸、心心相印的情感寫照;隨著劇情的發展 ,二人服飾的花色漸近 ,到《婚走》一出 ,運用了幾近同色的紅牡丹 ,意喻夫妻同享富貴榮華;《如杭》一出 ,二人同用菊花圖案 ,表現款款深情 ,甜蜜恩愛。 The dress of Flower God, as mentioned before, is also very distinctive. Even the flower god's ribbon is different from the plot: the flower god has made three appearances, the first time in the "amazing dream", highlighting the youthful flavor with green; the second time, Li Niang was seriously ill, and the flower god picked her out of the world with white. These personalized designs not only set off the soul and temperament of the dramas, but also pave the way for the development of the plot. 
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 as mentioned above, the Peony Pavilion focuses on the personalized costume design, which has a similar aesthetic orientation with the Western dramas using realistic techniques and the differences in the appearance of the costumes. {page_break} 
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 (2) from strong and exaggerated stage to simple artistic expression .
 traditional theatrical stage often uses strong colors and exaggerated shapes to show the beauty of dress and figure. This kind of stage performance characterized by strong and exaggeration often attracts the attention of the audience, so that people can see clearly that even the audience far away from the stage can distinguish the types of characters according to the characters' dress accurately. The Peony Pavilion's character decoration and stage furnishings are designed to keep away from strong, exaggerated and vulgar expressions, showing an artistic pursuit of simplicity, simplicity, elegance and implicateness. 
 clothing color choice: elegant. The traditional Kunqu opera costumes are in pursuit of bright and contrasting decorative beauty in terms of color concept. The use of this exaggerated color is aimed at highlighting the profession, displaying typological personas and shielding the personalities of the characters. "Peony Pavilion" is located in "elegance". Its goal is to have a certain cultural literacy of young people, and this generation's aesthetic tastes tend to pursue simplicity, elegance, and not vulgar. In order to be close to the aesthetic taste of contemporary people, the drama has added light grey to the primary colors of the costume, mainly in the light blue, light green and light pink colors. It has abandoned the rich coloring of the traditional costumes and highlighted the charming, light and clear colors, showing the pursuit of simplicity, elegance and implicative. 
 dress adornment application: Shang Gao Jie. The traditional opera costumes, which follow the hierarchy of the Ming Dynasty costumes, have the function of not being distinguished and inferior. They are embodied in decorations, which are the rules for decorations of different identities, such as Python used for advanced civil and military officials. Other ornamentation as well as Phoenix, birds, animals, fish, insects, flowers, clouds, etc., should be used in accordance with different roles. Not only that, the specifications of decorations are also classified, such as the weight of the officials in the size of the complement, and the status of the masters in pattern size. Although the clothing of the Peony Pavilion embodies certain stylization, it focuses more on the character and aesthetic feeling of the dress. Like "moving town", DUBAO wore a blue cloak and used the pattern of crane in the clouds. Although it was different from the traditional costumes in the use of crane stripes for Taoists and hermits, the composition and tone of the paintings were beautiful, which not only highlighted DUBAO's personality but also added beauty to the stage. 
 like Liu Mengmei and Du Liniang's clothing multi use corner ornamentation -- decorations on the bottom of the fold, the front and the front of the plaid, this design not only keeps the elegant subject of the costume, but also has the cultural connotation. Pine, bamboos, chrysanthemums, orchids and so on have always been the symbols of Gao Jie. The characters in the play wear the images of beauty and Gao Jie on the body, so that the profound spiritual connotation can be externalized and the eyes and ears can be connected. 
 dress overall matching: seeking harmony. Traditional costumes are stylized, symbolic, dancer and decorative. The overall collocation of clothing is also based on formula. The Peony Pavilion is beautifully decorated with detailed details, which reflects the highly unified form of art. This unified standard is the combination of clothes and ornaments, mainly in contrast to the unity of color selection and the application of ornamentation. Like Du Mu's dress, "meet mother", ochre fold with jujube red plaid and headwear, even the blue mosaic on the pleats is also treated at a shallow level. Another example is "huaibo". Liu Mengmei's dress, towel, pleat and burden are matched with black, white and grey colors, which reflect the overall harmony of the dress. 
 opera costumes are both works of art for opera performance, so they should have the characteristics of art, "not for themselves but for us," for the sake of watching and appreciating their audience. "Every work of art is also a dialogue with everyone in the audience." In modern theaters, when the "Peony Pavilion" clothes and contemporary audience dialogue, people can feel that the contemporary audience has become more diverse than traditional fanciers. Today, the tradition of traditional opera can be maintained even though traditional culture is maintained. However, the appearance is too old to lose audiences. If Kunqu Opera wants to enter the modern age, it can not just stick to tradition and not thin tradition, but it can be accepted by contemporary people, especially young people, who can learn new knowledge. {page_break} 
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 two, the creation of the beauty of opera costumes 
 the appearance of clothing beauty depends on the creation of aesthetic feeling. On the one hand, it originates from objective material characteristics, that is, the texture, shape, color and flower embroidery of clothing; the other is the material characteristics, namely, the texture, shape, color and embroidery of clothing; on the other hand, it needs to be expanded by dynamic means to expand, extend and strengthen the beauty of human body by means of human body and action. The creation of the aesthetic sense of opera costumes is also related to the subjective aesthetic consciousness, which is the pursuit of aesthetic sense of dress by different ethnic groups and audiences of different ages. The unity of subjectivity and objectivity in the social cognition of dress beauty is the unity of individual spiritual needs and group scale yardsticks. The "Peony Pavilion" clothing has been fully recognized by the modern young audience, which is closely related to its beauty in the form and connotation of the dress. 
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 1 the creation of formal beauty 
 the beauty of artwork is presented in a certain form. Formal beauty is a characteristic of art rather than other art. Bai Xianyong is the chief designer of the Peony Pavilion. In his view, "Kunqu Opera without him, has a beautiful character: the beauty of singing, the beauty of posture, the beauty of words, and the beauty of music, dance and literature. After more than 400 years, it has become a most refined and perfect form of performing arts in China. The purpose of reshaping the Peony Pavilion is to attract audiences with the beauty of Kunqu Opera in order to make contemporary people treasure traditional culture. The innovation of dress should first follow the rule of formal beauty of opera costumes. Let's see the "Peony Pavilion" costumes: traditional deep clothing style, elegant, rich colors, soft, exquisite texture, exquisite, Gao Jie's ornamentation, harmony, perfect collocation, etc., all embodies the pursuit of formal beauty. Moreover, the beauty of stage costumes permeates the rhythm of performance. In the Peony Pavilion stage, we can feel that Fuku Mi and the performance beauty complement each other, the dynamic beauty and static beauty reflect each other, the rhythmic beauty of the costumes and the beauty of the actors are displayed in the performance. Such as Chun Xiang's dress: light and soft tonal, full of the freshness and tender of spring; the black thread ends of the head hang before and behind the body, with its flexible body movement, the girl's charm and vividness are vividly displayed; the white scarf of the waist has evolved with varied gestures from time to time, giving prominence to the specific identity and smart personality of "paste". 
 2, the embodiment of inner beauty 
 as the external image carrier of the stage role of opera, the costumes of traditional opera reflect not only the beauty of form, but also the spiritual temperament of the role and the cultural connotation of the drama. Because stage costumes are not life clothes, they are influenced by many kinds of artistic factors such as dance, painting and sculpture. They are based on the clothing of Ming Dynasty, with the principle of highlighting roles and distinguishing professions, and have become "a cultural language". They have "unique" semantics "," profound cultural implications and rich historical contents ". The Peony Pavilion costumes highlight the elegance of Kunqu Opera and strive to express the elegance and elegance of the costumes. Such as Liu Mengmei's costumes: the "dream", Liu Mengmei is wearing white pleats floating in the air, such as jade trees and wind, the wind is coming from the book; and a cluster of plum blossoms on the pleat is echoed with the plum blossom on the front door and the paper towel. "Peony Pavilion" clothing is precisely following the Kunqu opera artistic spirit and the performance principle, at the same time, carries on the creative conformity and the assignment to the clothing creation element, has highlighted the artistic characteristic of the role just right. Such as Chun Xiang's small and exquisite, Yang Po's valiant and heroic posture, Du Liniang's subtle beauty, Liu Mengmei's upright and handsome are integrated into the creation of costumes, reflecting the beauty of clothing. 
 3, promotion of comprehensive beauty 
 Bai Xianyong thinks that the design of the Peony Pavilion is like his overall planning for the purpose of this drama. We must try to maintain the abstract freehand brushwork of Kunqu Opera and simplify the traditional aesthetic tradition. We should make good use of the various concepts of modern theater to foil this classical drama so that it can adapt to the visual requirements of modern audiences while also following the classical spirit of Kunqu Opera. Based on the master plan of the Peony Pavilion, the famous director Wang Tong of Taiwan performed the dance and costume design of the play. He used Kun Qu and gardens and Suzhou embroidery as the three traditional human resources of Wu Yue as a design reference. In a humble manner, he carefully appreciated the aesthetic impressionism of the Kunqu Opera and the aesthetic tradition of simplifying and controlling the complex. He led the group with modern theater design and operation concept to combine the traditional and modern costumes aesthetics of Kunqu Opera well. That is to say, clothing design is not carried out in isolation. It is a part of the stage design. It is an integral part. The appearance of clothing beauty is complementary to the design of lighting, scenery and props. The beauty of costumes has brought the stage to life, and the beauty of the stage has become an important power of dress beauty. The design of opera costumes must take into account the characteristics of the operas. It should be built on the basis of local traditional culture, making it a symbol of drama culture and regional culture, and regional culture has become an important part of the beauty of opera costumes. The clothing design of the Peony Pavilion shows the "comprehensive beauty" of Chinese national costumes, highlights the traditional characteristics and connotation of Kunqu Opera, and finds the best combination between maintaining the characteristics of Kunqu Opera, displaying the characters and intentions of Peony Pavilion and meeting the needs of contemporary visual aesthetic needs. It not only achieves the creation of "comprehensive aesthetic feeling" of opera costumes, but also improves the aesthetic taste of Kunqu costumes. 
To sum up, the stage costumes of the Peony Pavilion convey a design concept centered on stage performance, that is, around the theme of "Youth" of drama, combining traditional opera spirit and modern stage concept, attracting the audience with the beauty of costumes, infecting audiences with costume culture, and arousing contemporary people's nostalgia for national culture with the theme of youth, so that audiences can appreciate the elegance, fine and gentle beauty of Kunqu Opera. The success of the drama not only provides a new way for opera costumes to serve the modern stage, but also provides an important example for the modern inheritance of Kunqu Opera. 
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