Adaptation is a very complex issue in all human mental activities. People's perceptual ability is transformed from inadaptability to external stimuli, and from sensitivity to insensitivity for people. For external stimuli, it is the reduction and dullation of their efficacy.

When a person faces a difficult job or comes to a difficult environment, from not adapting to adapting, in fact, the difficulty of the work and the hardship of the environment are reduced in the person's mind, which is often a good thing; On the other hand, if the person is involved in something that violates morality and is in a defiled realm, if he also goes from being unsuitable to adapting, then the external evil will assimilate and corrode the person, which is of course a bad thing. As the old Chinese saying goes: "When you enter the room of Zhilan, you will not smell its fragrance for a long time; into the abalone, I don't know its smell for a long time", which illustrates the adaptability of perception from two aspects. Mental activities such as attention, emotion, understanding, and imagination will also be adapted.

The audience often has a process of not being accustomed to a certain drama, from being unaccustomed to it, from being unaccustomed to adapting to it. For example, this process may occur for northerners for southern operas, young people for old operas, scholars for village performances, and audiences who are fond of traditional drama methods for modernist dramas. Most of this adaptation has positive implications.

However, adaptation is more likely to produce the result that the performance can no longer provide effective excitement to the audience, and can no longer prevent the audience from getting bored. This boredom of the audience indicates that they have a certain expectation in their aesthetic choices, but for the object of weariness, it is a negative signal after all. The boredom of the audience has pushed countless artists into the abyss of failure.

Françaine Joseph Tema, a tragic actor of the French Revolution, once pointed out such a phenomenon:

It's not uncommon to see young actors who first got the success they deserved when they first appeared on stage, but then failed to live up to people's expectations of them. The reason for this seemingly strange phenomenon is that the inner excitement that they must experience when they first appear on stage is in a state of nervous shock and excitement, so they can be full of passion without special effort. Later, they became accustomed to appearing in public, which relieved them of their overly agitated mood, but also relegated them to their own inherent mediocrity.

The situation that Taima said is universal, but the reason for this, Taima only said half of it. The eclipses of the new stars in the theater world is not only due to their habitual use of the audience, but also because of the audience's habitual use of them. At this juncture, the audience is looking for more potential in the actors, and the actors are looking for encouragement in the audience. As a result, some viewers were disappointed, some nodded their heads, and these signals were immediately transmitted to the actors. So there are two cycles, motivating each other is a virtuous circle, and racing to get bored is a vicious circle. There is nothing more frustrating in the art of drama than this vicious circle of competition and boredom.

Constructivist sets designed by stage designer A. Aix

- The device of tragedy

Actors bear the brunt, in fact, other artists have the problem of being adapted by the audience. Adaptation, first to create comfort, then to boredom; The more I got older, the more tired I became. Artists who aim to adapt to the audience may often be planting bitter fruits for themselves.

In theater, film, and TV series, a large number of artists are frantically pursuing the adaptation of the audience. What they must understand is that maladaptation brings resistance, and adaptation brings boredom. The process of adaptation brings boredom a little longer, but if you don't take precautions, boredom will come sooner or later, and the result will be resistance.

The trouble is that any artist has to be in constant contact with the audience. The one-time charm caused by novelty is far from the goal pursued by the artist. Therefore, as soon as you step through the door of art, it is difficult to avoid the fate of adaptation and boredom. So, how exactly do you make the audience watch it again and again without getting bored? Or let boredom come later?

Relying on increasingly complex plots is clearly ineffective. Complex plots can often keep first-time viewers interested, but they can't stand up to repeat viewing. Diderot said:

When the story is known, the complex drama loses its effect.

If a play is performed only once and never printed, then I would say to the poet: Make it as complicated as you love it, and you will be thrilled to take it; But if you want your work to be read and passed on, then you have to keep it simple.

Diderot's reasoning is simple and convincing. Generally speaking, the artist uses complications to avoid the audience getting bored, but it is precisely complicating the plot that leads to the boredom of the second viewing.