Linear Decoration in the Stage Design of Traditional Chinese Operas tcxt ann linc drawings ny Li Wei I" 'h' r"" or com'mp"·'" '''''d' or mod'''' des;g". ,h""g, desig" or 1,."diHo",j Ch;oes, op"·" has evoil'ed lO a point \I"here it is necessarl" for it to take its fundamental form from a dil"ersified \'ariety of choices. As the cultural tendencies and artistic features of a given past era encounter the challenges of a new time. it is imperatil"e to reconsider the internal artistic la\l"s of the stage design of traditional opera. r\ rel"ie\l" of typical past designs rel"eals the abundant use of linear dccoration as a major elemcnt in thc stage design of traditional opera. The stage dcsign of traditional opera is characterized by a plain spatial expanse and cmphatic linear decoration I"ersus threc dimensional ohjccts on the stage, \I"ith simplified patlerns and bold colors. Bascd on the requirements of the performers. emphasis is gil"en to the two-dimcnsionainalllrc of on-stage space which hclps enhance the expression of plastic forms against an appropriate background. Linear decoration gives consideration to the form of traditional opcra pcrformance by minimizing the usc of platforms and lea\'ing IH;L\.imum clear space on stage for the performers, so that in their performance of opera singing. dancing and ritual actions they can maneuver to the fullest. Commonly, stagc setlings are painted backgrounds. sho\l"ing drawn sccncs around the stage or on thc back curtains. Stage scenery is usually designed in exaggcration to rcprcsent cnlarged objects in re;t1itl". 10&1 "I'R I" (, I .) " C>