Analysis of Cross linguistic Non Material Opera Culture Communication in the Era of Artificial Intelligence

Abstract

[...]it forms a specific performance form with strict rhythm and rhythm. For thousands of years, Peking Opera masters have been abstracting and artistically doing some common actions in daily life, such as common emotions, such as joys, sorrows and joys, as well as the tones, wording and language of daily conversation. [...]it forms a unique performance program in the performing arts of Beijing opera, such as the figure, the footwork, the routine, the expression, the plate, drums and the music. [...]the literature also explores the role of artificial intelligence in the inheritance and innovation of traditional Chinese opera culture. According to the scope of the present investigation, "program" first appeared in the book of Shang Jun in the period of the spring and autumn and Warring States period, that is, the meaning of regulations and rules. [...]unique performance programs such as figures, footwork, routines, expressions, plates, gongs, drums, and scores in Peking opera performing arts have been formed (Zhong M et al. 2016).

Headnote

Abstract: In the context of the flourishing development of artificial intelligence, the dissemination of non-material cross linguistic traditional Chinese opera culture has faced unprecedented opportunities and challenges. The intelligent recommendation system based on artificial intelligence can also accurately push relevant opera content according to user interests and preferences, improving the dissemination effect. However, the application of artificial intelligence in the cross linguistic and non-material dissemination of traditional Chinese opera culture also faces some challenges. This article explores the similarities between character actions in traditional Chinese opera programs and online games, and applies the theory of character action development to explore the combination of Chinese excellent traditional cultural and artistic connotations represented by Beijing similarity and online communication. It not only creates new guiding theories for modern Chinese network action design, but also provides new theoretical basis for the modern dissemination and internationalization of traditional Chinese culture.

Keywords: Big Data; Opera Culture; Direction of Development Prediction

(ProQuest: ... denotes formulae omited.)

1. Introduction

Artificial intelligence has become a hot topic in today's era. Its powerful data processing capabilities, efficient learning mechanisms, and wide range of application scenarios are profoundly changing our way of life. In this era, the dissemination of non-material traditional Chinese opera culture across languages is facing unprecedented opportunities and challenges. The application of artificial intelligence technology has also injected new vitality into the innovation and development of intangible opera culture. As the representative of Chinese traditional culture, Beijing Opera is a unique and stylized form of performing art. It first comes from people's daily life, and it is not a simple reproduction of daily life. It's based on aesthetic principles and aesthetic rules. It's integrated, refined and beautified. Finally, it forms a specific performance form with strict rhythm and rhythm. This is the stylization of Beijing operaas the core of Peking Opera performing arts, the program runs through all aspects of the Peking Opera. Whether it is singing, reading, doing, playing, or other hand-to-hand and so on, all have their own unique fixed (Kaminski, J. S. 2022). For thousands of years, Peking Opera masters have been abstracting and artistically doing some common actions in daily life, such as common emotions, such as joys, sorrows and joys, as well as the tones, wording and language of daily conversation. Thus, it forms a unique performance program in the performing arts of Beijing opera, such as the figure, the footwork, the routine, the expression, the plate, drums and the music. The program itself has a fixed, standard meaning. Therefore, in the Peking Opera performing arts, where does the character play, what steps to take, what pose to take, walk a few steps on the field, where to exit, how to cut through the sleeves and open the door and all kinds of sleeves, martial arts routines, Facebook Kung Fu, Rankou Kung Fu, and so on all have fixed, specific movement specifications. It is the action program. As the traditional quintessence of the Chinese nation, Peking Opera is able to become a unique art form that has passed through and is enduring. It is also associated with its unique stylization. And this is the focus of the artistic charm of Beijing Opera (Li W. 2016).

With the data analysis function of artificial intelligence, we can more accurately grasp the needs and preferences of the audience, and provide more accurate guidance for the creation and performance of traditional Chinese opera culture. In addition, artificial intelligence can also help us explore and organize the resources of traditional Chinese opera culture, providing strong support for its protection and inheritance. In summary, the era of artificial intelligence has brought unprecedented opportunities and challenges for the dissemination of non-material theatrical culture across languages. We have reason to believe that, driven by technology, intangible opera culture will enter the world with a more open and inclusive attitude, demonstrating its unique charm and value.

2. Related Work

In the era of artificial intelligence, the analysis of non-material theatrical cultural dissemination across languages has gradually become a hot topic in academic research. The study of relevant literature not only delves into the application of artificial intelligence technology in the dissemination of traditional Chinese opera culture, but also analyzes its impact and prospects from multiple perspectives. Firstly, some literature focuses on the application of artificial intelligence technology in opera translation. These studies indicate that artificial intelligence can achieve automatic translation of opera texts through technologies such as natural language processing and deep learning, providing convenience for cross language communication (Chen, J. 2023). For example, some studies have effectively improved the accuracy and authenticity of translation by constructing specialized models for traditional Chinese opera translation, enabling foreign audiences to better understand the content and charm of traditional Chinese opera.

Secondly, the literature also explores the role of artificial intelligence in the inheritance and innovation of traditional Chinese opera culture. Some scholars point out that artificial intelligence can explore the deep connotations of traditional Chinese opera culture through data analysis, pattern recognition, and other means, providing new inspiration for creation and performance. At the same time, artificial intelligence can also assist opera educators in teaching activities, promoting the popularization and inheritance of opera culture. In addition, the literature also focuses on the impact of artificial intelligence on the international dissemination of traditional Chinese opera culture. Research suggests that with the assistance of artificial intelligence, traditional Chinese opera culture can more accurately target audiences and improve its dissemination effectiveness. At the same time, artificial intelligence can also promote the exchange and integration of traditional Chinese opera culture with other cultures, and promote the development of cultural diversity. Due to Beijing Opera belongs to the quality and quintessence of Chinese traditional culture, there are few foreign studies about Being opera, especially the stylized performance of Beijing opera. The literature is relatively scarce, but domestic research is still very rich. According to the scope of the present investigation, "program" first appeared in the book of Shang Jun in the period of the spring and autumn and Warring States period, that is, the meaning of regulations and rules. With the development of history, the Qing Dynasty Emperor Qianlong, Zhou Xiangyu and others speak of "Southern word music is also applied to" the concept of the program in his works. The meaning of the term used in the program mentioned here is its original intention. In the process of initiating and leading the "National Drama Movement", Zhao Taimou made extensive use of "formula" and "stylization" to represent the connotation of the opera culture. Later, he was identified as the first scholar to apply the "formula" to Peking Opera Studies (Cui H Q et al. 2016). First application of "stylized" to opera research is Yu Shangruan. He holds that Chinese traditional Peking Opera is similar to traditional art forms such as painting and calligraphy. It is a freehand stage art. Huang Kebao has also done some research on Beijing opera's program, and pointed out that the word "program" has become a professional term, which describes the unique stage performance characteristics of drama art. It can be said that the most important artistic feature of Peking opera stage art is its program and stylization. For thousands of years, Peking Opera masters have been abstracting and artistically performing some common actions in daily life, such as common emotions, such as joys and sorrows and emotions, as well as the tones, wording and language of daily conversation. As a result, unique performance programs such as figures, footwork, routines, expressions, plates, gongs, drums, and scores in Peking opera performing arts have been formed (Zhong M et al. 2016).

3. Methodology

3.1. Acquisition of Action Program of Beijing Opera and Acquisition Algorithm

The program itself has a fixed, standard meaning. Therefore, in the Peking Opera performing arts, where does the character play, what steps to take, what pose to take, walk a few steps on the field, where to exit, how to cut through the sleeves and open the door and all kinds of sleeves, martial arts routines, Facebook Kung Fu and, Rankou Kung Fu, and so on, have a fixed, specific movement specification, that is, an action program. Peking Opera, as the traditional quintessence of the Chinese nation, can become a unique form of art performance that has been enduring and enduring, and is also related to its unique stylization. And this is the embodiment of the charm of the art of Beijing opera. The program of Beijing Opera is not only a basic and fixed form of opera performance, but also the basic means and specific rules of Beijing opera stage performance. The Peking Opera program has its own systematic and complete system. Each stage of the Peking opera stage performance has its own corresponding program, whether it is a line of business, face, prop, or music, singing and clothing.

As the representative of Chinese traditional culture, the core of Beijing opera art is in its stylized form, and the movement is the core of the Beijing opera program. In addition to the common features of other stage art, the action in Beijing opera has its own unique place. This stylized action is of great importance to the shaping of the role of the Peking opera or the reflection of the inner feelings of the characters.

... (1)

Under the premise of guaranteeing the reality, we can collect and translate people's body movements in real life to the computer system as high as possible, and save them as virtual actions that can be modified and adjusted at any time. It is a great advantage of modern action capture technology. The application of motion capture technology can guarantee the quality of motion design on the premise of reducing project cost, especially for Beijing opera stage art with large data volume, high difficulty and a series of stylized motions, which is currently the most ideal and applicable means (Wang et al. 2016). In the event of action capture, a Peking opera singer first has to change a specific motion capture coat. In the motion capture system used in this chapter, the system uses 22 capture clothing for action collection points, which are distributed on 4 heads, two shoulders, 2 limbs, 4 upper limbs, 3 chest and back, 3 waist and hip, 2 legs and 4 feet. In general, the more the action collection points, the more accurate the actions captured, the more coherent and realistic the final model action is. These action collection points are the key to the whole set of action capture devices. It is these motion capture points collected at the main joints of the whole body that completely record the body movements of Peking opera performers in the Peking Opera stylized Beijing opera performance. This is not only a digital extraction of the stylized movements of Beijing Opera, but also injects the personalized physiological information of Beijing Opera actors into them (For example, height, weight, physical action habits, and so on).

This means that the motion capture device will complete and accurately record the personalization and physical motion information and life information of Peking Opera actors in a digitalized form. Then through the corresponding animation processing software, using modern computer technology to restore these data and then drive the motion of the virtual model. In this way, the digital reconfiguration of the stylized action of Beijing opera has been realized, and a human-computer interaction model of unique experience has also been formed (Lai et al. 2015). Because of this unique human-machine interaction mode, the personalized life information and human motion information are re encoded and interpreted into a computer virtual game space, thus it can bring fresh experience of life information to players.

By utilizing modern technology, we can digitally reproduce the programmatic movements of Peking Opera, bringing a brand new viewing experience to the audience. The implementation of this process cannot be separated from advanced motion capture devices and animation processing software. Firstly, by wearing motion capture devices, Peking Opera actors can accurately capture their personalized body and life information and record it in digital form. These devices can accurately capture every subtle action of actors, including gestures, gait, facial expressions, etc., ensuring the integrity and accuracy of information. Next, these digital information will be imported into professional animation processing software. Through the processing of modern computer technology, software can restore and optimize this data, thereby driving the actions of virtual models. In this way, the programmatic actions of Peking Opera can be reproduced in virtual space, forming a unique digital art form.

... (2)

... (3)

3.2. The design model of the stage and environment of the action program of Beijing Opera

Although the theme of this article is based on the action design of the action program of Beijing opera, the action of the role is inseparable from the environment. Whether in real life or in the Internet world, characters can't exist without environment. Only specific actions in specific environments have specific meanings. At the same time, in order to make this opera style stylized online game role play better receptive and sensory experience, it is also necessary for us to create a Beijing Opera game space.

In Beijing Opera's stage performing arts, all the performance elements are stylized, whether it is action, singing, playing music or the arrangement of their scenes. The typical scene in Peking Opera art is "a table and two chairs", which is a red four-legged square table plus two red chairs. Because Beijing Opera pays attention to the invisible lining, therefore, in the usual Peking opera stage performance, there are not many requests for scenery and stage, and there are few props on the stage. Most of them fully mobilize the audience's imagination through the stylized movements and singing of the actors, making the audience imagine the pictures in the script of the Peking Opera. This is not only the demand for the stage performance of Beijing opera, but also the embodiment of the artistic conception and values of Beijing opera performance. It is worth mentioning that, even in the dark-sacred drama of "Sanchakou", the actual performance is not to be carried out in darkness. On the contrary, darkness is reflected through a series of stylized actions of the Peking Opera actor, such as blinking at the eye, reaching for the road, and touching the darkness. It is these stylized performances that give the audience infinite imagination and immersive sensory experience.

Therefore, in this system, the setting of the stage performance environment for Beijing Opera includes only a symbolic "one table two chair" and a simple Beijing opera stage. More Beijing Opera information and national cultural characteristics are reflected by the stylized role action of Beijing opera style. This is to avoid distracting, to prevent too much of the game environment and attract the attention of sharing game player (Ye et al. 2015).

3.3. Experimental design

In order to conduct in-depth research on the cross linguistic dissemination of intangible traditional Chinese opera culture, we carefully selected 20 volunteers from the media system to participate in the experiment. Among these 20 volunteers, 10 have a rich gaming experience and a deep understanding and experience of the gameplay of online games. Their participation not only provided valuable perspectives for our experiment, but also ensured the diversity and comprehensiveness of the experimental results. In order to ensure the reliability and effectiveness of the experimental results, we deliberately chose a quiet and undisturbed isolation environment for the experiment. In such an environment, volunteers can focus more on the experience of intangible traditional Chinese opera culture, thus providing more accurate feedback on their feelings and evaluations. During the experiment, we first debugged the relevant game equipment and communication tools to ensure that they can smoothly present the content of intangible opera culture. Subsequently, we allowed volunteers to experience these carefully designed cultural contents of traditional Chinese opera for a long time. In order to help volunteers better adapt to the game system and interactive devices, we have decided to conduct a game experience evaluation and rating after each volunteer has experienced it twice. This evaluation process is not only a feedback on the gaming experience of volunteers, but also an important test of the cross linguistic dissemination effect of intangible opera culture. We use a five point rating scale to allow volunteers to rate the dissemination effect of traditional Chinese opera culture based on their own feelings. A score of one indicates that the tester's feelings and description are completely inconsistent, while a score of five indicates that they fully match the description. Five points indicate that they fully comply with the description in the table 1.

4. Result Analysis and Discussion

Based on the experiments and algorithms above, the experimental results are analyzed in this paper. The gaming experience of any online game is the vitality of the work and the most important factor in evaluating the quality of the game. For this system, we can see from the following data statistics: whether it is the fun, interactivity, or immersion of the game, the system can provide users and players with a good experience, so we can basically achieve the expected goals (As shown in Figure 1).

This review aims to summarize a study on the digital experience of Peking Opera art, which transforms traditional Peking Opera performances into a brand new gaming experience through innovative human-computer interaction modes. During the research process, the testers used a specific game system to learn Peking Opera and compared it with traditional video learning methods. Firstly, the research team achieved precise recording of personalized body movements of Peking Opera actors through the advanced motion capture device Kinect. However, due to the lower version of Kinect devices, testers need to make certain adjustments during use, and the devices themselves have some inevitable errors, which to some extent affect the feedback score of the system. However, according to the test results, these device errors did not have a significant impact on the player's gaming experience, and the effectiveness and nature of the game were still maintained.

In the experiment, the participants were divided into an experimental group and a control group, respectively, using the game system and watching Beijing Opera videos for learning. The selection of testers fully considers diversity and adaptability, including foreign students from different cultural backgrounds who all maintain a certain interest in traditional Chinese opera performances. The experimental process strictly follows the principles of fairness and effectiveness, ensuring the reliability of the experimental results. Through a comparison of learning outcomes, the research team found that the experimental group using the game system performed well in terms of learning time, number of errors, pauses, and omissions. At the same time, the experimental group also achieved high scores in subjective perception ratings, indicating that they felt happy and interesting during the learning process, and were able to maintain their interest in learning Peking Opera.

In summary, this study successfully transformed Beijing Opera art into a brand new gaming experience through innovative human-computer interaction modes, providing new ideas and methods for the inheritance and development of traditional art. Although there are some technical issues during the use of the device, they have not had a significant impact on the gaming experience. In the future, with the continuous progress and improvement of technology, this digital experience method is expected to provide more possibilities for the inheritance and development of more traditional arts.

The statistical diagram of the experimental data is as follows in figure 2, 3 and 4.

From the perspective of communication studies, this experimental system is not only a technological innovation, but also an innovation in cultural communication methods. Through this system, Beijing Opera, a traditional art form, can be disseminated to audiences in a new way, especially the younger generation. Compared to traditional video teaching, this gamified learning experience provides a more vivid and interesting way for the dissemination of Peking Opera art. The gamified learning approach has significantly improved the dissemination effect of Beijing Opera art. Although traditional video teaching can showcase the performance content of Peking Opera, it often lacks interactivity and immersion, making it difficult to stimulate the interest and enthusiasm of learners. The system simulates a real gaming environment, allowing learners to experience the charm of Beijing Opera through interaction, thereby gaining a deeper understanding and appreciation of this art form.

This system fully utilizes multiple sensory communication channels. In games, learners can perceive the artistic elements of Peking Opera through various means such as visual, auditory, and tactile senses. This multi sensory dissemination method makes Peking Opera art more vivid and three-dimensional in front of learners. This comprehensive sensory experience not only enhances the learning effectiveness of learners, but also deepens their understanding and memory of Beijing Opera art. Gamification of communication methods also helps to break down barriers to cultural dissemination. Through games, a widely popular media form, Peking Opera art can transcend geographical, age, and cultural boundaries and spread to a wider audience. This crosscultural communication approach helps to enhance understanding and communication between different cultures, and promotes the development of cultural diversity.

In summary, the experimental system has successfully improved the dissemination effect of Beijing Opera art and the learning effect of learners through gamified dissemination methods. From the perspective of communication studies, this innovation not only enriches the means and forms of cultural dissemination, but also injects new vitality into the inheritance and development of traditional art. At the same time, we should also recognize that although gamified learning methods have advantages in certain aspects, it is necessary to reasonably control their scope and methods of use to ensure that their positive role in cultural inheritance is fully realized.

5. Conclusion

In the era of artificial intelligence, the cross linguistic dissemination of intangible traditional Chinese opera culture has ushered in unprecedented opportunities and broad development prospects. The introduction of artificial intelligence technology has significantly promoted the cross linguistic dissemination of intangible opera culture. With the help of cutting-edge technologies such as natural language processing and machine translation, opera texts can be quickly and accurately converted into multiple languages, effectively breaking down language barriers. This makes it easier for foreign audiences to come into contact with and appreciate China's intangible opera culture, greatly expanding their audience. This cross linguistic communication model not only showcases the unique charm of intangible opera culture on the international stage, but also lays a solid foundation for its global dissemination. In addition, the cross linguistic dissemination of intangible traditional Chinese opera culture also relies on the expansion of multiple communication channels. For example, through online platforms, social media, and international cooperation projects, we can present intangible traditional Chinese opera culture to a wider audience. At the same time, utilizing advanced technologies such as virtual reality and augmented reality can also bring audiences a more immersive experience of watching traditional Chinese opera, further deepening their understanding and identification with this culture.

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