Sichuan opera is a rare flower in my country's drama art garden and an art form that best reflects the characteristics of Bashu culture. Since the late Ming and early Qing dynasties, Sichuan opera has entered its formative period after a long period of gestation and quickly spread across the vast Bashan and Shushui. In the hundreds of years of development and evolution, it has gradually formed cultural characteristics of integration of the north and the south, five tunes, blending of culture and wildness, and appreciation by both the refined and the popular. As one of the four major operas in the country, Sichuan opera not only shines in the Chinese theater scene with its long history, unique performance form, rich singing tunes, and vast opera texts such as "Three Thousand Tang Dynasties, Eight Hundred Song Dynasties, and the Three Kingdoms that cannot be performed". At the same time, the unique performance skills of Sichuan opera such as "face changing", "spitting fire", and "hiding knives" are praised by the world, becoming an "unsolved mystery" that has been amazing and difficult to crack for hundreds of years in various local operas in my country, and is praised by Western drama as "the magical Sichuan opera from China". Changing faces is one of the stunts of Sichuan opera performances. It is used to reveal the changes in the inner thoughts and feelings of the characters in the play, that is, to turn invisible and intangible abstract emotions and psychological states into visible and tangible concrete images. Traditional Sichuan opera face-changing performers need to use props such as fans as auxiliary tools for face-changing techniques. However, the face-changing technique of hands-free face-changing completely discards the props in the hands, and the face-changing technique is even more skillful, which further enhances the mystery and observability of the face-changing stunt. The performance techniques are divided into wiping the face, blowing the face, pulling the face, luck face-changing, and hands-free face-changing. Wiping the face: Apply makeup oil paint to a certain part of the face. When performing, wipe the face with your hand to change it to another color. For example, Xu Xian in "The Legend of the White Snake" uses wiping the face to express the change of emotions. Blowing the face: Put powdered cosmetics, such as gold powder, silver powder, ink powder, etc. into a special container. During the performance, the actor sticks into the container and blows hard, and the powder falls on his face. Pulling the face: The mask is drawn on the cut silk beforehand, and then pasted on the face in order. Each mask is tied with a silk thread, and the other end of the silk thread is tied to a convenient and inconspicuous place on the clothes. According to the needs of the plot, the mask is pulled off one by one under the cover of clever movements. Changing the face by luck: It is said that the late Sichuan opera actor Peng Sihong used qigong to change his face from red to white, and then from white to blue when he played Zhuge Liang in "The Empty City Plan", showing Zhuge Liang's inner changes. Changing the face by taking off the hands: When Sichuan opera face-changing performances generally use the technique of pulling the face, Mr. Zhang Yuanyue, under the instruction of his predecessors, evolved the face-pulling technique from pulling the face with hands to changing the face by taking off the hands, which added to the mystery of this stunt performance. Information source: Mianyang Intangible Cultural Heritage Protection Center (No pictures yet, welcome to provide.) Information source: Mianyang Intangible Cultural Heritage Protection Center (No pictures yet, welcome to provide.)