1. 神不到，戏不妙。

1. If the gods are not present, the play won't be good.

2. 玩艺儿是假的，精气神儿是真的。

2. The tricks are fake, but the essence and spirit are real.

3. 谚语是广泛流传于民间的言简意赅的短语，多数反映了劳动人民的生活实践经验，而且一般都是经过口头传下来的。

3. Proverbs are concise phrases widely spread among the people, most of which reflect the life and practical experiences of the working people, and they are usually passed down orally.

4. 一日不练自己知道，两日不练同行知道，三日不练观众知道。

4. If you don't practice for one day, you know it; for two days, your peers know it; for three days, the audience knows it.

5. 功夫练到家，上台不怯场。

5. When one has practiced martial arts to a high level, they will not be nervous on stage.

6. NO50 艺多不压身，艺高人胆大。

6. The more skills one has, the bolder one becomes.

7. NO25 学到知羞处，方知艺不高。

7. It is not until one learns modesty that one realizes one's own arts are not proficient.

8. NO18 腔好唱，味儿难磨。

8. No. 18, the cavity is easy to sing, but the taste is hard to grind.

9. 一清二混三不见。

9. Clean, mix, and then don't see.

10. NO20 早扮（戏）三光，晚扮（戏）三慌。

10. Early playing (acting) is three times as bright, late playing (acting) is three times as anxious.

11. 千斤话白四两唱，三分唱念七分作。

11. One thousand pounds of words are spoken by Bai Si Liang, and three parts are singing while seven parts are acting.

12. NO36 戏无情不动人，戏无理不服人，戏无绝不惊人。

12. A play without passion is unappealing, a play without logic is not convincing, and a play without surprise is not stunning.

13. NO37 演员上了台，一步值千金。

13. NO37 The actor stepped onto the stage, every step was worth its weight in gold.

14. NO34 有板有眼叫戏，没板没眼叫屁。

14. NO34 A well-scripted performance is called a "well-structured play," and a poorly structured one is called "bullshit."

15. NO42 台上无大小，台下立规矩。

15. On stage, there is no distinction between big and small; off stage, there are established rules.

16. NO35 台上三分钟，台下十年功。

16. "Three minutes on stage, ten years of hard work offstage."

17. NO28 一台无二戏，救场如救火。

17. NO28 A performance without a substitute is like putting out a fire with water.

18. 一台无二戏，救场如救火。

18. There is no second act, and the performance needs to be saved as if it's a fire emergency.

19. 要想人前显贵，就得背后受罪。

19. If one wants to appear noble in front of others, they must suffer in secret.

20. 师傅领进门，修行靠个人。

， 20. The master opens the door, but the cultivation depends on the individual.

21. NO15 台上一分钟，台下十年功

21. "A minute on stage requires ten years of effort off stage."

22. NO7 私下练，台上见。

22. Practice in secret, showcase on stage.

23. 站有站相，坐有坐样。

23. Stand with a standing posture, sit with a sitting posture.

24. 指任何事情都得下一番苦工夫，方能做出好的成就。?>

24. Anything requires a great deal of hard work to achieve good results.

25. NO19 宁输后台不输前台，只许艺高不许胆大。

25. NO19: It's better to lose in the back office than in the front, only allow skill, not bravery.

26. NO26 好戏把人唱醉，坏戏把人唱睡。

26. NO26 A good play makes people drunk with joy, while a bad play makes people fall asleep.

27. 要想学好艺，先得做好人。

27. To excel in the arts, one must first be a good person.

28. 早扮三光，晚扮三慌。

28. "In the morning, be three times as bright; in the evening, be three times as panic-stricken."

29. 慢板要紧，快板要稳，散板要准。

29. The slow pace should be tight, the fast pace should be steady, and the free pace should be accurate.

30. 唱戏的是疯子，看戏的是傻子。

30. The actors are mad, and the spectators are fools.

31. 没有君子，不养艺人。

31. Without gentlemen, there is no nurturing of artists.

32. 练到老，唱到老，学到八十不算老。

32. Keep practicing until old, keep singing until old, learning until eighty is not too old.

33. NO29 台上一张口，便知有没有。

33. NO29 On stage, one's opening words reveal whether they have talent or not.

34. 百日笛子千日箫，小小胡琴拉断腰。

34. A flute for a hundred days, a bamboo flute for a thousand days; a small huqin can pull one's waist apart.

35. NO40 唱戏的是“疯子”，看戏的是“傻子”。

35. The actors are considered "madmen," and the spectators are seen as "idiots."

36. NO2 勤学通百艺，苦练出真功。

36. Diligent study and hard practice achieve mastery of all arts, and toil brings real accomplishment.

37. 内练一口气，外练筋骨皮。

37. Cultivate one's internal breath and external muscles, bones, and skin.

38. 三分靠教，七分靠学。

38. Three parts depend on teaching, and seven parts depend on learning.

39. NO48 慢板要紧，快板要稳，散板要准。

39. NO48 The slow part should be tight, the fast part should be steady, and the free part should be accurate.

40. NO16 台下静，声小也能听得清。台下动，声音再大也没用。

40. NO16 In the audience, even soft sounds can be heard clearly. If the audience moves, no matter how loud the sound is, it won't be of any use.

41. NO3 以熟为巧，以巧为妙。

41. Treat proficiency as skill, and treat skill as artistry.

42. NO6 一天不练就回，两天不练就生，三天不练就没。

42. No practice for a day and you're back, no practice for two days and you're born again, no practice for three days and you're gone.

43. 有状元徒弟，没状元师傅。

43. There are scholars' disciples, but no scholars' masters.

44. 唱戏不动情，看戏不同情。

44. If you act without feeling, you won't feel sorry for the characters; if you watch without feeling, you won't feel sorry for the actors.

45. 艺不离手曲不离口。

45. Art is never far from hand, music never far from mouth.

46. NO10 一日不练自己知道，两日不练同行知道，三日不练观众知道。

46. NO10 If you don't practice for one day, you know it yourself; if you don't practice for two days, your peers know it; if you don't practice for three days, the audience knows it.

47. NO13 要想戏路通，全靠幼时功。

47. NO13 To have a successful acting career, it all depends on the hard work in childhood.

48. 笑不露齿，行不动裙。

48. Don't show your teeth when laughing, and don't let your skirt move when walking.

49. 七分念白三分唱，白是骨头唱是肉。

49. Seven parts recitation, three parts singing; the recitation is the bones, and the singing is the flesh.

50. 唱戏碰了钉，才知艺不精。

50. It was only when I encountered difficulties in performing a play that I realized my art was not refined.

51. NO4 七分念白三分唱，白是骨头唱是肉。

51. NO4: Seven parts recitation and three parts singing, the recitation is the bones and the singing is the flesh.

52. 戏无情不动人，戏无理不服人，戏无绝不惊人。

52. The play without emotion is unappealing, the play without reason is not convincing, and the play without surprise is not astonishing.

53. 手到眼到，眼到手到。

53. Hands and eyes move together, eyes and hands move together.

54. 一台戏得合手，不合手戏准丢。

54. A performance needs to be well-coordinated; if it's not, the play is bound to fail.

55. NO22 字不清，唱不明。

55. NO22 The characters are unclear, and the melody is indistinct.

56. NO52 拳不离手，曲不离口。

56. The fist never leaves the hand, the bow never leaves the mouth.

57. NO41 一遍功夫一遍巧，一遍拆洗一遍新。

57. NO41: One effort brings skill, one effort brings renewal, one effort washes away the old and brings in the new.

58. 慢要松，紧要绷，不紧不慢才算功。

58. In leisure, be relaxed; in urgency, be tense. Only when not too tight and not too slow can one be considered proficient.

59. NO43 师傅领进门，修行靠个人。

59. "The master leads you in, but the cultivation depends on you."

60. 百艺不如一精。

60. Better to be master of one art than to be a Jack of all trades.

61. NO9 艺术是件宝，不学得不了。

61. Art is a treasure, one can't acquire it without learning.

62. NO14 慢要松，紧要绷，不紧不慢才算功。

62. "In leisure, be relaxed; in urgency, be firm; only when neither too loose nor too slow can it be considered a success."

63. 台上一声啼，台下千人泪；台上一声笑，台下万人欢。

63. A cry on stage, tears from a thousand below; a laugh on stage, joy from ten thousand below.