In the literary circle, the Chinese scholars used to compare the need to conform to rules and forms in composing the classic poems to “dancing with fetters on”. This metaphor may too, apply to stylization in acting .Perhaps it is
related to the conventional Chinese aesthetic conception. The Chinese favor patterned art, even when the pattern is detached from the content. So, the actors also favor the patterned art, i.e., stylization. Stylization displays the behavior and mentality of the character through a superb blending of acting, appearance and prop, so as to attain the “separation and reunion” state.
As recounted by Jiao Sun in the Qing Dynasty in his work “Commentaries on Operas”, there was in the Ming Dynasty in Hangzhou a good female role actor, expert in playing “The Peony Pavilion”. Every time he acted the role on the stage, he showed a sad emotion as he was the real female character himself. Once when he played in the act “Search the Dream” of the opera, he was so sad that he died, while he sang some sorrowful arias. The plot of this opera was based on a dream; “The dream results from the sentiments”. (Tang Xianzu: “Writings at Yu Ming Hall”) When Tang Xianzu composed the opera, he was very sentimental. When he wrote the line, “Looking at the spring flowers wearing the old dress”, he was so struck by his emotions that he fell weeping on the faggot. As this opera was played on the stage, the actor dedicated his life. He was the most heart-dedicating actor in the Chinese theatrical history.
The actors today also emphasize playing the role with the heart. Peng Haiqing , a famous Sichuan opera actor , said that when he learned to play the role of Xiao Fang in the opera “ Fight on the Red Platform”, his teacher asked him to kill the opponent with his mind , not just the sword . The military actors in Beijing opera are of the same opinion : “In playing a military scene , it 
is not hard to be valiant , but is hard to be dignified , not hard to be nimble , but hard to be well composed” . A well-known contemporary Beijing opera military actor , Li Shaochun said : Once he sang an aria for Yang Liulang in the operatic act “Hongyang Cave” before the authoritative Beijing opera man actor Yu Shuyan .
When he had finished , Yu asked him , “what have you been thinking while singing this aria? “Before he replied , Yu added , “I know you have been thinking over the rhythm , but you have not been thinking over what would be the thoughts of Yan Liulang when he told Ba Xian Prince of his heart felt thoughts . You sang well and the rhythm was all right , but you missed the spirit .” Since then , whatever he played , Li Shaochun always paid attention to the “spirit”. In the opera “Play Pranks in the Heavenly Palace” , he paid attention to what “play pranks” meant . So, in the scenes of “Steal the Peaches” and “Steal the Elixir” , he acted not merely the stealing , but the spirit of “play pranks”.
