Qin opera, as a local opera spread mainly in Northwest China, is one of the oldest operas in China. It has been formed at least in the middle of the Ming Dynasty. Since then, it has been widely popular in Shaanxi, Gansu, Qinghai, Ningxia, Xinjiang and other places. The art of Qin opera is closely related to the water and soil features on the 800 mile Qinchuan land. It is the most distinctive folk culture and art in Sanqin land. Since the 1980s, Qin opera culture has been paid more and more attention. It has become one of the symbolic cultural symbols in Northwest China and has been listed in the first batch of national intangible cultural heritage. Under the background of accelerated urbanization and economic and social changes, how can the local opera represented by Qin opera blend into the development tide and shine new light? Tourists watch Qin opera puppet show in ganjun Town, Ganzhou District, Zhangye City, Gansu Province. Wang Jiang takes bright pictures On the present appearance of local opera from the development of Qin Opera Shaanxi is a veritable opera Province, with more than 20 operas, including Qin opera, Meihu opera, wanwan opera, argong opera, Erhuang opera of Han Opera, Huayin laoqiang opera, etc. From the perspective of the construction of troupes, there are numerous regular troupes from cities, districts to counties, such as Shaanxi opera research institute, Xi'an Qinqiang Opera Theater (with Yisu society and Sanyi society under it), Xianyang people's troupe, Xianyang popular troupe, Baoji people's troupe, Baoji Xinsheng troupe, and many private troupes. In general, there are more than 100 regular Qin opera troupes in Shaanxi Province, which accommodate powerful elite actors and tens of thousands of practitioners. As the largest Shaanxi opera art group in Northwest China, Shaanxi opera research institute has performed more than 600 times a year. Since the launch of the "Shaanxi opera every day in Xi'an" activity in 2007, it has performed more than 4000 times continuously, becoming a cultural card representing Shaanxi. The implementation of the regulations of Shaanxi Province on the protection, inheritance and development of Qin opera art and the favorable policies provide a good opportunity for the protection, inheritance and development of opera art. Culture and tourism are integrated with innovative cultural connotation. After 12 years, China Qin Opera Art Festival, the highest standard Qin opera art event in China, once again sang in the land of Sanqin. Following the 5th China Shaanxi opera art festival held in 2010, the ancient capital Xi'an held the 9th China Shaanxi opera art festival from June 13 to 24. During this period, famous artists and newcomers from 33 academies and troupes from five provinces and regions in the northwest gathered in Xi'an. 73 Qin opera dramas were performed brilliantly, and more than 30 winners of the plum blossom Award for Chinese opera appeared on the stage. Qin sound and Qin rhyme attracted tourists from all over the world; After the changes of times, the hundred year old Qin opera troupes - Yisu Opera Troupe and Sanyi Opera Troupe have built Qin opera art into a stage presentation more in line with the aesthetics of the times, injecting vitality into the rapid development of Xi'an's cultural tourism industry; Yongxing square, a comprehensive cultural space under the city wall, is a place where Shaanxi opera, Huayin laoqiang opera, Northern Shaanxi storytelling, Northern Shaanxi folk songs and other performances benefiting the people are performed one after another, showing the unique charm of Xi'an local operas. The local opera inherits the dynamic cultural gene, shows the unique regional aesthetic style, integrates it into the tourism development, becomes the cultural experience method favored by many tourists, and effectively improves the cultural connotation of urban tourism. Cherish local culture and memory. Shaanxi writer Jia Pingwa wrote the voice of the Qin people in his novel Qin opera. He learned about history, morality and all kinds of local things from Qin opera. It is his love and understanding of Qin opera that enables Jia Pingwa to integrate Qin opera into his works and show the most authentic local culture in this land through the power of words. As a symbol, local opera has been created, enriched and developed through time precipitation under specific social conditions, so it has a profound sociality. Chinese society is local, and the origin and development of Chinese culture are inextricably linked with the land, thus creating the native complex of the Chinese people. The same is true of the local operas in Sanqin. Today, with the continuous advancement of urbanization and the rapid development of economy and society, the local complex in Shaanxi opera and other operas has penetrated into all aspects of Shaanxi people's production and life, becoming a spiritual link to unite the group and maintaining people's inner cultural identity. As a result, the cultural features of a city and a region can be continued. With the power of culture, the city memory belonging to all the three Qin people is virtually guarded, and the cultural root of the Qin opera surname "Qin" is defended. Modern technology helps cloud communication. "This year's Shaanxi opera sounds different from previous years. It has a new taste and a new feeling." The old theater fans in Chang'an District of Xi'an expressed their feelings of watching. During the outbreak of COVID-19, 65 performers of Liyuan Chunqin Opera Troupe Co., Ltd. in Chang'an District, Xi'an City, provided more than 80 high-quality Qin opera performances to the audience through live broadcast platforms such as Kwai and Tiktok, and hundreds of thousands of fans waited online for the "corner" to appear. The epidemic has changed traditional performance forms such as opera performance, and spawned new online modes such as "cloud theater" and "slow live broadcast". At the early stage of the epidemic, famous Qin opera performing artists and plum blossom award winners Li Mei, Hui Minli and houhongqin entered Shaanxi radio and television station to sing new lyrics to classical Qin opera tracks such as liangqiuyan, three drops of blood and the story of red light. On the evening of May 15, the "plum blossom version" of Shaanxi opera anti epidemic situational drama "the light of life" created and performed by Shaanxi opera research institute met the audience through webcast, and about 600000 viewers watched it online that night. "Online performance" and "cloud literature and art" are becoming a new front for the dissemination and development of local operas, and traditional operas collide with network communication. Bright picture II. Urbanization has a profound impact on local opera "There are various dragon and Phoenix flags on the stage. At the beginning of the play, firecrackers and firecrackers are lit together. Pilgrims and fans flock to the stage. Inside and outside the palace, purple smoke curls and chimes sound in bursts. Up and down the stage, the melody is long, and the atmosphere of happiness and harmony is incomparable." This is a description of the bustling scenes of the past temple fairs in the Xilong mountain temple chronicle of Tongwei County, Gansu Province. Such a grand occasion is hard to see now. Now the scene is that there are not many people under the stage, and most of them are middle-aged and elderly people. The 83 year old lishuishui said that he had listened to Qin opera all his life. "In the past, I used to sing opera at temple fairs. I used to hold a bench early to occupy a position. Now I can't use it at all." Zhangguihua, 78, said: "it used to be that young people and children came to the temple fair to watch the opera. Now only we, who are older, are still listening." Urban development has occupied the living soil of local opera. Local opera has three most common forms of mass communication: theater performance, opera tea garden performance and folk music class performance. The theater has professional opera performers, exquisite stage lighting, strong appreciation and high artistic value, but the ticket price is also high and the audience is limited. Opera tea garden performance is more "grounded". During the prosperity of local opera, many opera tea gardens were distributed in Northwest China. Most of the opera troupes performing in the teahouse are private opera troupes. They have average economic strength and can't afford to rent large venues. Although the level of performers is uneven, they can also meet the needs of ordinary people. It's fun for theater fans to drink tea and chat in the teahouse. With the acceleration of urbanization, cities and rural areas have been transformed on a large scale, and there are fewer and fewer teahouses in the alleys. Instead, there are high-end teahouses with exquisite decoration. The rent of high-end teahouses is high, which is difficult for private troupes to bear. The high consumption level has also "dissuaded" the old tea drinkers who love opera, and the local opera performance that can represent the characteristics of local traditional culture has gradually faded out of the modern teahouse. When you go to the theatre in your early years, you must first repair the stage. On the one hand, it improves the effect of watching the play, and on the other hand, it conveys historical and cultural information with the help of the stage. Nowadays, most of the old theatres are in disrepair, or forgotten, or demolished during urban reconstruction. There are fewer and fewer performance venues for local operas. People who sing operas have no place to sing. Private opera troupes can only rely on rural temple fairs, and their living conditions tend to be difficult. The change of life style accelerates the "hollowing out" of opera communication. Local opera is deeply rooted in agricultural civilization and widely spread in rural areas. In the past, during the slack season, people often played and sang in the fields, villages and alleys, entertained themselves, or when they went to the temple fair, threeorfive people gathered around and shouted at each other for fun. In the era of underdeveloped Internet media, opera performances can often be seen when holding social fires and temple fairs in rural areas. The theater has become a place for people to gather and exchange. Men, women, young and old in shiliba village gather under the stage to listen to the opera. With a large number of rural people entering the cities, although there are still opera performances at many temple fairs, fewer and fewer people listen to the opera, and most of them are the elderly. The former head of the weijiamiao Temple Management Committee in Tongwei County said: "in the past, when the weijiamiao Temple sang opera, many people came to see it. In recent years, not many people even liked to sing Qin opera, and fewer and fewer people went to see it. People in the city saw more excitement, and rarely came here to see it. Young people are usually busy working to earn money, watching TV and playing mobile phones in their spare time, that is, some old people still come to see it." In the rural areas of Northwest China, the troupe was often invited to sing opera to express their respect and condolences for the dead. Some sing in their own yard, and those with better conditions set up a small stage in the open space. In recent years, funerals in rural areas have been simplified, and the custom of singing opera has gradually disappeared. The influence of local opera is gradually receding in people's life. The development of diverse cultures has aggravated the loss of local opera audiences. Urbanization gives people more opportunities to contact various art forms, and the public has more choices in their spiritual and cultural life. Nowadays, the Internet has a profound impact on cultural and entertainment life and communication methods. Social media occupy a lot of people's free time. Local opera is no longer an important spiritual support for people's life and entertainment. Subculture is emerging, and art forms such as hip-hop and rap are more favored by the younger generation. At the same time, the Internet platform has a variety of operas, rich repertoires, and extremely convenient viewing. As the main audience of operas, the middle-aged and elderly people are gradually attracted by new media entertainment programs, and fewer and fewer people watch operas offline. Bright picture The deep-seated reasons behind the three dilemmas deserve attention The number of local opera practitioners has decreased, and the creative power is insufficient. Dingkemin, President of Shaanxi Academy of art, introduced that since 2010, the number of state-owned opera troupes in Shaanxi Province has continued to decrease. In 2020, the number of Qin opera troupes will be reduced to 25, and the number of employees will be reduced to 2797, of which only 426 are Qin opera art talents. Among the Qin opera troupes sampled from 2020 to 2021, 90% did not have regular funding support for new plays. Most grass-roots Qin opera troupes lack their own editing and creation teams, and the opera creation talents in the whole province are also facing the problems of shortage of talents. At the same time, the income gap of Qin opera performers is obvious. Qin opera masters can earn tens of thousands of yuan in a performance, while the average monthly salary of ordinary Qin opera practitioners is only the median of the average social salary. The actors of a Shaanxi opera troupe in Xi'an said that their biggest demand is to have more performance opportunities, sing more plays, have basic economic benefits, and hope to have a better development platform. Due to the sharp decline in audience, the troupe's economy is in recession, the outstanding Qin opera performers and creators lack sufficient living security, their enthusiasm for employment is reduced, and the troupe's operation is also becoming difficult, resulting in a large number of brain drain; In addition, the lack of special funds for play innovation leads to the lack of new basic repertoires