Since its formation, traditional Chinese opera has had a preference for comedy. The comedic spirit of traditional Chinese opera originates from the genes of Chinese culture and reflects the positive and confident attitude of the Chinese nation towards life in literary and artistic creations such as opera. The comedy tradition of traditional Chinese opera has continued to this day, especially in the creation of local operas and plays related to agriculture, rural areas, and farmers, which are more prominent and common. The moon has its ups and downs, people have joys, sorrows, separations, and reunions, professions have their birthdays clean and ugly, and the stage has tragic comedies. Since ancient times, the common people have enjoyed watching dramas with a mix of sadness and joy, and a love for tears to turn into laughter. Even in tragedies like "Dou E's Injustice", it is necessary to have a father daughter reunion in the end. The art of traditional Chinese opera is vast and profound, and the spirit of comedy is deeply ingrained in the bone marrow. There is even a specialized "ugliness" line, which expresses various "jokes and jokes". Its significance is naturally related to the humorous and humorous spirit of comedy. In the words of the Qing Dynasty opera master Li Yu, "in the humorous and witty aspects, there are vast articles.". The comedic spirit of traditional Chinese opera originates from the genes of Chinese culture and reflects the positive and confident attitude of the Chinese nation towards life in literary and artistic creations such as opera. Since its formation, traditional Chinese opera has had a preference for comedy. Regarding this, Wang Guowei, who is knowledgeable in both Chinese and Western literature, once said in his article "Commentary on Dream of the Red Chamber": "The spirit of our people is both worldly and optimistic. Therefore, the traditional Chinese opera and novels that represent their spirit are always imbued with this optimistic color, starting with sadness and ending with joy, starting with separation and ending with union, starting with hardship and ending with prosperity; otherwise, it is difficult to satisfy the reader's heart. If the soul of" The Peony Pavilion "returns," The Palace of Eternal Life " "Zhongyuan" is one of its most notable examples It can be seen that it is difficult to satisfy the audience's aesthetic psychology unless the ending is finally joyful, harmonious, and prosperous. The comedy tradition of traditional Chinese opera has continued to this day, especially in the creation of local operas and plays related to agriculture, rural areas, and farmers, which is closely related to the origin of local opera in folk and rural areas. Most of the rich and colorful local operas have evolved from "Er Xiao Xi" (Xiao Sheng, Xiao Dan) and "San Xiao Xi" (Xiao Sheng, Xiao Dan, Xiao Chou), full of life charm and comedic colors. Hunan Flower Drum Opera can be regarded as an outstanding representative among them. Sixty years ago, two small flower drum plays, "Playing the Causeway" and "Repairing the Pot", were popular in both urban and rural areas. Their strong comedy style and rural atmosphere were widely welcomed, and even attracted Kunqu opera actors to learn flower drum play. Many types of plays were transplanted across the country. The young actor Li Guyi in "The Pot" later became famous throughout the country and became a household name. Since the beginning of the new century, the plays created by Hunan Huagu Theater, such as "Anecdotes of the Old Table", "Walking into the Sunshine", "The Wind of the Working Man", and "My Name is Ma Cuihua", have either won the "Five One Project" award or the Wenhua Award, and have had a wide influence throughout the country. These excellent modern plays have mostly ordinary and ordinary characters, but although the characters are small, their spirits are not small. "The Anecdotes of an Old Cousin" portrays the story of Mao Zedong, a great figure of his own, and the theme itself has a certain degree of legendary and comedic qualities. The play portrays the new relationship between the leaders of the new society and the people through a small matter, with a profound intention. The protagonist, as an old-fashioned intellectual, has a high standard of living, lives a peaceful life, and dreams of becoming a successful official and rising to fame. Coupled with his superb performance, he is a clich é d character