In the performance, stage scheduling reveals the characters' personalities from the visual image and physical modeling form, reflects the rich spiritual world of the characters, and shows the contradictions and conflicts between the characters or their thoughts. Directors often use stage scheduling to form the stage focus, control the audience's attention and emphasize a certain factor or important link in the script. Stage scheduling is also a bait to help actors capture the specific inner feelings of the role and correct the stage self-feeling.

Stage scheduling is a typical and aesthetically processed form of human body modeling, which can reveal or express a relatively independent content and concept and convey some explanation and conception of secondary creation. Stage scheduling should have bright and beautiful forms, profound connotations and strong artistic appeal.

Stage scheduling is based on lines, stage descriptions and the director's overall thinking. The director should grasp the temperament, thoughts and feelings of the characters, grasp the specified situation of the script, the relationship between the characters and the content of the conflict, and cultivate unique character conflicts and action forms under the guidance of the ideological etiquette of the whole play, the overall image of the performance and the handling principles of the performance. The director should foresee the key scenes of the performance and the basic modeling forms of the main links, character movements and life scenes in the play. Stage scheduling is finally completed through the joint creation of directors and actors. When rehearsing, the director should first help the actors to establish the organic life of the characters, so that the stage scheduling graphics conceived by the director can become an integral part of the organic movements of the characters, and be good at refining and processing the actors' creations as the embryonic form of stage scheduling.

In the process of stage scheduling, the work of dancing beauty is very important. Together with the director, they explore the specific space treatment of the performance and the plane structure of the stage space (that is, the layout of the stage scenery).

Stage scheduling should be subordinate to the genre of the script and show the performance style with its own graphic structure. The style of stage scheduling depends on the director's overall handling principle of this performance-realism or romanticism, the combination of realism and hypothesis, the combination of concreteness of life and generality of art, and the combination of life breath and decorative beauty.

Stage scheduling has its own characteristics. In the theater, the audience's point of view is fixed, so when arranging the actors' postures, space activities and the combination with the scenery, the director should pay attention to revealing the thoughts and feelings of the characters with changeable positions and postures, and revealing the relations and conflicts between the characters. Stage scheduling is more hypothetical. It can have realistic graphics or romantic graphics; There can be realistic graphics, imaginary, virtual or even symbolic graphics. Therefore, stage scheduling has extremely rich aesthetic characteristics.

Performers in China's traditional operas. Space processing, such as dancing and walk-on, is a valuable resource for stage scheduling, especially for China drama.