In order to be both realistic and aesthetic, the presentation should conform to both the stage requirements and the 
life stereotypes. The moves should be devised just sufficient and appropriate. When these moves were followed, they were fixed and stylized. For example, there are three “fish lying” moves in the scene of “The Drunken Imperial Concubine”. When the bejeweled imperial concubine bends down cross-legged, the move looks so nice, so it is stylized. Originally, the move is used in the scene of “The Imperial Concubine Smells Flowers”. The move has been adapted in other scenes too had has become stylized.
For another example , the stylized moves of the military characters before going to action originate from the moves of Xiang Yu , the King of the Western
Chu , as these moves are powerful and vigorous , befitting a valiant general . There are scores of the stylized moves for military scenes of the Beijing opera , e.g., the stylized moves for “ facing the opponent” , “starting the fight”, “exchanging passes” , “stopping’, “before going to action” , “galloping”, etc .(Qi Rushan: “Froms of the Chinese Opera” )
When a good actor employs the stylized moves, the stylized moves have a profound significance. When the good actor employs the props (including the dress), the props have the effects of the actor’s lines. For example, in the act of “Tilting the Sliding Cars” the armors have significance. The green armor belongs to Gao Chong; the black armor belongs to Niu Gao. They cannot be mixed. Also for example, the props for the female characters. The headdress with five artificial gems and the drapes belong to upper-class middle aged women. The headdress with artificial gems and the trousers belong to unmarried middle-class woman. The headdress with silvery beads and the green dress belong to poorer women. These props indicate the status of the different roles as soon as they appear on the stage.
In addition, when a prop is used well, it can complement the acting. For example , in the opera “Beat the Princess” , when the bearded-man role actor playing the role of general Guo Ziyi bemoans the behavior of his son and says , “My son , you come up and see!” he pushed sideways his chest-long artificial beard , which drifts in the air and settles on his shivering hands , showing his deep sadness . Also, in the opera “The chained Fortresses”, when the actor playing the role of Huang Tianba hears Liang Jiugong telling his to search the stolen horse of the emperor, the tassels on his hat start to tremble harder and harder. Though he stands with the back to the audience, the trembling tassels belie his inner fears. Also, in the opera “A Petty Banquet”, Lu Bu does not speak a word to Diao Chan, but lowers his head and sways the peacock feather on the helmet across both her cheeks and his lips showing his flippant flirtation.
