Expand the space for action. Stage art creates and restricts the performance space of actors, and provides the necessary performance area combination and fulcrum for stage scheduling. /kloc-In the performances of ancient Greek dramas, ancient China dramas, Japanese Nenglo dramas and Shakespeare dramas in the 6th century, there are generally no scenery on the stage, and the entrances and exits of the actors are basically fixed. At that time, the actor's action space and architectural space coincided. In the Renaissance, after the perspective scenery appeared on the Italian stage, the actor's action space began to be limited by the scenery. With the appearance of19th century box scene, its limitations become more and more prominent. Since the 20th century, the traditional frame stage has been broken, and various forms of performance venues have appeared, even going to cafes and street squares. Therefore, under the new conditions, the action space and the building space overlap. Realistic drama requires providing actors with a fulcrum that conforms to the logic of life. Such as doors, windows, balconies, tables and chairs, hillsides, stumps, etc. This requires designers to carefully observe and analyze life in peacetime and refine and process it in creation. In the realistic drama performance, stage art must organize and limit the performance space, provide the stage and stage for the actors, and arrange the scenery and props to meet the needs of the characters in the play. Stage artists of past dynasties provided various skills for organizing the action space of drama. In addition to the commonly used realistic techniques, others, such as Appiah's Rhythm Space, are composed of multi-plane and multi-angle platforms and steps, using abstract space combinations to create different scenes. в. Meierkholid's constructivist scenery consists of platforms, steps, slopes, escalators and walkways, so that the skillful movements of the actors can be fully exerted.