Abstract
The article examines the historical development of Chinese opera art since ancient times in the conditions of its time. Modern trends as a genre, style and plot in the formation of Chinese opera are updated; which allows us to trace the appearance of new elements in various directions of musical and dramatic action. Chinese opera went through a long path of conceptual genre-stylistic formation, the variety of opera enriched with quantitative and qualitative indicators of new stylistics with the advantage of arias, solo and ensemble singing, new orchestral thinking testifies to a new crystallization of opera drama against the background of national traditions and new composer thinking. The study of these changes in the art of opera allows us to think about different directions of the genre-style concept of Chinese folk opera and musical theater in a new way. The fundamental scientific study of the historical formation of Chinese opera art, the importance of musical theater as an organic part of the reflection in the artistic form of the life and lifestyle of the people, the essential signs of national character and mentality in the works of luminaries of opera art are highlighted. The problem of the formation of modern Chinese opera in the context of assimilation of European experience is revealed, the influence of pro-European opera on the genre and stylistic features of modern Chinese opera art is revealed, which reflects the work of its artist in a new reinterpretation of folk music, allows to actualize the genre, style, plot with the transfer of the operatic action to the modern era, to provide appropriate metaphoricality, illusoryness, outrage and performance, going beyond the scope of the work with the sacramental feature of Chinese opera as an ethnocultural phenomenon.
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