In the 16th century AD, two important figures appeared in the history of world literature and art-Shakespeare and Tang Xianzu. Shakespeare is the most famous dramatist in Europe. He created a unique dramatic art and is a master of European drama. The other is Tang Xianzu of China, who pioneered Chinese opera. Chinese opera and European drama are important artistic crystallization in human history. Dramatic art has been enduring for a hundred years, and it is still profound in people's memory. At the same time, it also faces challenges and opportunities: with the rich production of visual art and sensory art in modern society, Chinese traditional opera with stage as the carrier is slightly less competitive in content and style. In the past ten years, Chinese opera people have also paid attention to the crisis that opera needs innovation and inheritance, and it needs to be in line with the times and put into action. In the 21st century, looking back on the innovative journey of Chinese traditional opera in recent ten years, we also deeply feel the hardships and challenges, and can't help thinking: Does traditional opera not innovate mean moving into a museum? Is traditional opera rich in value as long as it is innovated? What is the future of Chinese traditional opera? This paper will take the exploration of the newly edited Cantonese opera "White Snake Biography and Love" in the innovation and inheritance of Chinese traditional opera as a case, and discuss in depth how the "blueprint designer" on the road of innovation of Chinese traditional opera should adhere to the balance between "id" and "superego" in innovation and inheritance.

Lun Mo. On the Road of Innovative Blueprint Design of Chinese Traditional Opera——Take the Newly Edited Cantonese Opera "White Snake Biography and Love" as an Example. Academic Journal of Humanities & Social Sciences (2020) Vol. 3, Issue 6: 142-152. https://doi.org/10.25236/AJHSS.2020.030616.

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