Early lighting used Yang Jiaodeng to burn resin chips or vegetable oil.
In the 3rd year of the Republic of China (19 14), Peng Yingchun in Putian County performed "Chen Sanwu Niang". In order to show the scene of Huang Wuniang picking lychees upstairs, curtains were painted on the windows and railings and hung in the performance area. Chen San's horse is woven with bamboo sticks and covered with white flannel, which is hung on the actor in two sections. In the Republic of China 1 1 (1922), troupes such as Shuangsaile returned to Putian from Nanyang. Influenced by Fujian and Beijing troupes, they began to use the fixed soft scenes of "Dragon Humen" with horizontal eyebrows and "Phoenix coming to the instrument", so there was a painting scene that simply matched the plot. For example, in the performance of Meng Jiangnv, there will be a soft scene painted with the Great Wall in the whole play. In the 36th year of the Republic of China (1947), "New America and Britain" class and "World Song and Dance" class performed "Wu Wen Peng" in Taiwan. Class two specially hired Fuzhou scenery designer He to come to Putian to put the popular institutional scenery in Shanghai and Fuzhou on the stage of Puxian Opera. Draw clouds, stars, moon, mountains and other scenery into a connected soft-scene sky curtain, then put it on the cylinders erected on both sides of the stage, rotate the cylinder, and the soft-scene sky curtain will rotate circularly with it, and then with lights, it will produce a sense of flow such as cloud floating, star moving and moon sinking. In order to show the flow of water, Xin Meiying performed Yue Feisheng. The soft scenes of dark green, medium green and light green were pasted on the long spiral roller frame at the entrance of the stage, and the entrance of the stage was horizontally covered with grounded green cloth, revealing half of the roller frame. Rotating the roller frame would give people the feeling of flooding.
In the late 1940s, theatrical troupes became popular with institutional settings, and many scenes were made into activities. However, the production cost and volume of the organ set are large, which is not suitable for mobile performances. So the popularity quickly changed into a general soft scene.
After the founding of the People's Republic of China, Puxian Opera had a fixed theater. 1953 In Putian County, theatrical troupes generally used institutional sets, which were beautifully produced. In the same year, it was also introduced to various troupes in Xianyou. By the end of 1950s, due to the introduction of projection lamps and slides which can show various atmospheres and effects, institutional scenery was rarely used.
In the sixties and seventies, theatrical troupes mostly used sets covered with wooden frames, which depicted vivid physical environment through painting. Compared with the common soft scenes in the 1940s and 1950s, this kind of painting scenery enriches the layering of the performance space, and the scenery is no longer just used as the background.
198 1 The No.1 Scholar (the beautiful dancer Pan Ziguang), created and performed by the Second Troupe of Puxian Opera in Putian County, broke through the limitations of traditional painting scenery, played down the image of the awning, and adopted a novel scenery form combining decorative gauze curtain with local realistic scenery, which was appreciated by the drama circle.
From the mid-1980s to the 1990s, a number of works combining form and content appeared, such as Ascension of Liu He by the Third Troupe of Puxian Opera in Putian County (designed by Huang, She and Li Wei), The Story of Ugly Duckling by Xianyou Carp Troupe (designed by Xue and Xu Honghai) and Ode to Autumn Wind by the First Troupe of Puxian Opera in Putian County (designed by Huang).