First, inheritance and how to inherit is always an important proposition in the development of opera performance art, and also the focus of attention in the opera industry. The Shanghai Peking Opera Theatre launched the "Shang Changrong Trilogy" inheritance plan in 2015. Shang Changrong served as the artistic director, and gave the "Cao Cao and Yang Xiu", "Zhenguan Grand Event" and "Honest Officials in Jackie Chan" to the young actors of the Shanghai Peking Opera Theatre to take over. The audience saw a vivid practical case about the artistic inheritance of Peking Opera, which is quite enlightening. The author saw in the inheritance edition of "Honest Officials in Jackie Chan" that four students, Yang Donghu, Wei Jiaqing, Du Xin and Dong Bingyi, have successively played the role of Jackie Chan after different periods of practice. The four students all have profound basic skills. Under the instruction of Shang Changrong, they sang well and did well, which more or less showed Shang Changrong's stage image and artistic charm in that year. It should be pointed out that due to the differences in physical appearance, voice, body and spirit of the four trainees, there is a close or far connection between them and Shang Changrong's performance. This is normal, because there is no "copy without distortion" opera performance art in the world, and from the perspective of Shang Changrong's "acting principle", it can be seen that the four students have externalized the image of Jackie Chan from their own understanding through learning, which is not only normal, but also necessary. The four students each performed a section in "Honest Officials in Jackie Chan". Although they were wonderful, it was difficult to show the comprehensiveness and development of the characters they played. According to the development of the plot, Yu Chenglong's personality is presented in turn and progressive in layers - from the closeness and easiness at the beginning to the courage and determination at the time of investigation, from the humor at the time of wine fight to the gloom at the time of leaving, from the sincerity at the time of talking about the earth to the blandness and broadness at the time of talking about life... This process requires the actors to continuously grasp the core content of each scene and continuously control the emotional context of the characters to create a flowing Warm, multifaceted, rather than frozen, cold and monotonous characters. In order to achieve this vision, actors should not only follow the rules of model performance, but also learn their form first, then get their spirit, and finally become "themselves". In the author's opinion, the key to an actor becoming "himself" is whether he has both historical consciousness and artistic feeling. According to Shang Changrong, after he decided to perform the role of Jackie Chan, he first consulted a large number of relevant historical data to make his heart move first; And reached a consensus with the screenwriter on the purpose and possibility of "play", so as to have a clear understanding. At this time, he has completed the psychological preparation for the dramatic transformation of history and the artistic transformation of characters, and then he is going to use the "sense of art" to shape characters and interpret the plot. In other words, Shang Changrong has become "himself" before the script and even the title appeared, and has constantly realized "himself" during and after the completion of the literary book and the director book. For this reason, Shang Changrong has a clear understanding of the creation positioning and artistic requirements of the play. Although the play takes the "Tonghai case" as a penetrating event, it has no connection with traditional public case plays such as the "Di Gong case" and "Peng Gong case". The play has no villains, no opposites, no obvious contradictions, no martial arts, no suspense, no fancy content, and the characters are inside the outer ring