Abstract
November 4th, 2018, in the first episode of the third season of the Tucao Conference, a most popular talk show in China, pop singer Leehom Wang and Peking actor Peiyu Wang debated whether pop songs should be incorporated with elements of Peking Opera. Peiyu Wang believes that young people should give themselves the opportunity to listen to Peking Opera. Pop songs should not encroach on Peking Opera. She thinks it is a kind of awkwardness to Peking Opera. Leehom Wang thinks that if you don't sing, I don't sing, the stage will be empty. Beijing Opera is China's national drama, which is a flexible symbol on the international stage to convey the Chinese image. The paper is divided into three parts. Firstly, for evaluating the as a Chinese art brand based on the relevant theoretical framework of brand strategy, the necessity of improvement is pointed out. Secondly, the feasibility of improving Peking is explained from the history of Peking Opera. Thirdly, the solution is proposed, that is, the improvement of Peking needs to draw on the concept of cooperative communication and put up with the improvement plan of cooperation with whom and from which aspects. communication model creates new Pecking Opera from the four aspects, which are content, subject, objective and channel, so that can keep youth, popular and go to the world. Key words: Cooperative communication, Peking Opera, popular culture, brand building.
Highlights
In the past, some Beijing Opera studies put forward the idea that Beijing Opera should be innovative (Wang, 2018)
Leehom Wang claims that "if you don't sing, I don't sing, the Beijing Opera stage will be empty." The singer David Zee Tao who participated in the program at the same time believed that the most important problem in Peking Opera spreading was that the insider could not make it more in line with the tastes of modern people, so that the layman was "involved"
As a kind of history and a cultural carrier, it should record the emotions and sorrows of people of different eras. This is not to say that Peking Opera wants to lose its own way of expression and succumb to the European centralism of music, losing its own cultural genes; on the contrary, Peking Opera should use its own form of expression to meet the aesthetic and emotional needs of a new generation in content, and insist its own characteristics to re-construct "popular" music, even Western music, to achieve the effect of "including each other with pop music." This requires that Beijing Opera cannot forget the history logic of its own development (Peng, 2018), if it would only stick to the stereotyped rules and music conservatism
Summary
Some Beijing Opera studies put forward the idea that Beijing Opera should be innovative (Wang, 2018). Leehom Wang claims that "if you don't sing, I don't sing, the Beijing Opera stage will be empty." The singer David Zee Tao who participated in the program at the same time believed that the most important problem in Peking Opera spreading was that the insider could not make it more in line with the tastes of modern people, so that the layman was "involved". As the winner of the Chinese Drama Plum Blossom Award, she started to play the album "Beijing Opera is very fun" in the Himalayan FM in 2016, recording 100 programs in one year; she is hot in early 2018 the CCTV popular variety show "Classic never stop", she is "radical" on-the-spot teaching, let the virtual singer Luo Tianyi "learn" a section of "empty city plan." the "effect" of the effort was questioned, and eventually fell into the embarrassing situation that the intention of Peiyu Wang is "promoting Peking Opera or promoting herself."
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