When the audience appreciates the performance, they listen to local music, observe local affairs, and understand local feelings, thereby enhancing their sense of belonging and identification with their hometown. Looking back at the history of Chinese opera, its prosperous era was also an era of close integration and interaction with the folk. Traditional Chinese opera was born in the folk and grew and flourished among them. For thousands of years, traditional Chinese opera has been closely linked to the lives of the people, constantly drawing nourishment from the fertile soil of the folk, forming a unique aesthetic style and profound cultural heritage. One place nurtures its own opera. The more than 300 existing opera genres in China are all local operas in a sense, but their respective formation periods, dissemination ranges, and degrees of influence are different. The differences in local culture create the stylistic features of the genre, while the acceptance level of local audiences affects the survival status of the genre. On the other hand, one type of opera also nourishes another type of people: opera is not only a style of opera, but also a cultural carrier that carries local cultural history and customs. When the audience appreciates the performance, they listen to local music, observe local affairs, and understand local feelings, thereby enhancing their sense of belonging and identification with their hometown. Looking back at the history of Chinese opera, its prosperous era was a time of close integration and interaction with the folk. In the "Battle of Flower and Elegance", local opera demonstrated its more popular characteristics among folk audiences. Looking at the contemporary pear garden, the most vigorous opera must be supported and participated by local audiences. The Anwan Opera Troupe, which is composed of grassroots artists, is popular "out of the circle". In the chilly wind, the actors on the stage and the audience sing the scene of Qin Opera Opera "Xing Han Tu? Tong Guan", which not only expresses the audience's sincere feelings for opera art, but also reflects people's ardent expectations for current opera creation. Take a look at the family dramas and traditional dramas of various genres, especially those folk dramas that have been performed for a long time, most of which embody local customs and reflect the wisdom and emotions of the people. The folk nature of opera determines its narrative and performance content and form, which can be understood from three aspects: stance, imagination, and taste. Firstly, we must adhere to the position of the people. The so-called stance, for playwrights, is' why write 'and' for whom write '. Traditional Chinese opera originates from the people and naturally aims to reflect their daily lives and express the voices of the people. The classic masterpieces that have been passed down in the history of Chinese opera all reflect the social style and living conditions of ordinary people at that time, providing a reference for modern people to understand the ancients. In "The Injustice of Dou E" and "Saving the Wind and Dust", Guan Hanqing portrays the suffering and struggle of lower class women under the oppression of feudal ethics, reflecting the playwright's profound concern for human nature and strong condemnation of social injustice; In the early days of the founding of New China, Pingju Opera Liu Qiao'er, Lvju Opera Li Ersister-in-law's remarriage, and Shanghai Opera Luo Hanqian all depicted the scene of women's pursuit of marriage and love freedom in New China, full of ordinary people's yearning for a better life. In contemporary times, excellent plays also demonstrate concern for the people and contemplation of contemporary life. The Qin Opera Opera "Xijing Story" created by the playwright Chen Yan is an excellent example of modern drama. It tells the story of the father Luo Tiancheng and his children going to the city to pursue their dreams. The family's experience in the city and the contradictions between father and son due to the differences in values truly reflect the bitterness and pain of ordinary people on the way to pursue their dreams, praise the ordinary people represented by Luo Tian's defense of self dignity, and reflect the playwright's compassion and infinite warmth for the people. Dramatists who adhere to the folk stance often carry respect for "people" and write about the living conditions and life pursuits of ordinary people in the era, depicting their most authentic joys and sorrows, thus winning the widest audience empathy. Secondly, we should unleash the imagination of the people. Drama is not a copy of life, but an artistic creation by playwrights based on life, and creation cannot be separated from rich imagination. This kind of imagination is not fabricated out of thin air, but requires a deep understanding of the audience's acceptance psychology. Traditional Chinese opera highly values the legendary narrative to meet the audience's expectations for exciting stories. Kong Shangren once said, 'If things are not extraordinary, they will not be passed down.' The ancient Chinese opera's reverence for 'strangeness' and the use of scriptwriting techniques such as coincidences, misunderstandings, and sudden twists are accurate grasps of the psychology of ordinary audiences. There are various forms of expression for "qi", among which "defeating the strong with weakness" and "overcoming the strong with softness" best reflect the folk imagination of opera. The core of Tang Xianzu's "The Peony Pavilion" is the revival of Du Liniang, which is the most imaginative creation in classical opera and the most passionate and dramatic artistic expression of folk emotions. Classical Chinese opera often has settings that use bizarre techniques to uphold justice for weak lives. These works use romantic techniques to showcase folk imagination, allowing characters in the play to shuttle between the real and virtual worlds. Although modern and contemporary Chinese opera is influenced by drama and follows more principles of realism, folk imagination is not lacking. Chen Renjian's Puxian opera "Spring Grass Breaking into the Hall" is a model. This comedy portrays the lower class character Chuncao and exposes the hypocritical faces of feudal rulers. In the "sedan chair" scene, Hu Zhifu is eager to verify whether Xue Meiting is the Grand Tutor of the Prime Minister's Office, while Chuncao has to come up with a foolproof plan for the lies he has spread. The two of them are one noble and one humble, one urgent and one slow. In the end, Hu Zhifu had to let Chuncao sit in the sedan chair and follow behind him in order to arrive at the Prime Minister's Office early, which is truly amusing. The "joy" of this drama stems from the ruthless mockery of feudal forces by the common people through their wisdom, and the folk imagination satisfies the expectations of ordinary audiences through the rebellion of the weak against feudal power, and also realizes the emotional compensation function of opera as an art. Lastly, it is important to respect the sentiments of the people. People often say that traditional Chinese opera is an art that is appreciated by both the refined and the popular. However, in actual creation and performance, there is often a tendency to prioritize elegance over vulgarity, resulting in some plays having more elegance than vulgarity. Respecting folk tastes not only means that the content of traditional Chinese opera should have a sense of life and fireworks, but also that its form of expression should conform to the aesthetic habits of the audience, and cannot ignore the most authentic charm of traditional Chinese opera for the sake of deliberate novelty. In recent years, local operas have received increasing attention from researchers precisely because these folk operas best represent the aesthetic tastes of local audiences. For example, the five tone play "Wang Xiao rushes to his feet" in Zibo, Shandong, as a "second little play", tells the story of a rural daughter-in-law named Er Niang who hires a donkey to return to her parents' home. The plot of the drama is concise and the scenery is simple. Although there is no profound theme, it is naturally simple and full of wit and humor. Especially the vivid depiction of the local customs and traditions in the suburbs of Jinan makes people feel as if they are in the scene and appreciate the unique fun and taste of grassroots people. Although some endangered theatrical genres have few performances and limited dissemination, they occupy an irreplaceable position in the entertainment life of local audiences, such as the "One Gougou" theatrical genre in Linyi, Shandong. It used to be performed in the fields during the agricultural off-season, but now it is active in festivals and temple fairs. The fundamental reason for its continuous existence lies in respecting and showcasing folk customs, winning the love of audiences with its simple and unadorned style. Therefore, rescuing and protecting endangered theatrical genres is a topic of the times, while respecting the aesthetic taste of ordinary audiences, valuing the fun of narrative and performance in opera, and avoiding obscure expressions that are pretentious and profound are longer-term issues. From ancient village stages to bustling urban theaters, traditional Chinese opera art has always been deeply rooted in the folk, gaining energy from the people and feeding back to the audience. The source of traditional Chinese opera lies in the people. Dramatists can only seek creative inspiration from the hot practices of the people, draw nourishment from the rich and colorful folk culture, adhere to the folk stance, promote folk imagination, and respect folk tastes, in order to make ancient Chinese opera art shine brightly in contemporary times, continue to nourish people's spiritual world, and pass on the cultural genes of the Chinese nation. (New Society)