25 November 2025, Volume 0 Issue 11

    

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NewEssays
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  Exploring "Old Beijing" as a Theatrical Paradigm:On Tian Qinxin′s Directing Art in Four Generations Under One Roof

  Yang Yang

  Sichuan Drama. 2025, 0(11): 6-14.

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  The stage play Four Generations Under One Roof is a significant work directed by Tian Qinxin in the new century, embodying her novel explorations in directing artistry. Its importance lies not only in Tian′s continuation of a constructivist approach to dramatic aesthetics—representing a "further development" of the realistic theatrical aesthetics epitomized by Jiao Juyin—but also in her creation and exploration of a new form of theatre. This innovation stems from her positioning within the evolving landscape of early 21st-century theatrical aesthetics, where she integrates diverse elements, including contemporary Western theatrical aesthetics and expressive techniques from traditional Chinese opera. The production introduces an alternative theatrical aesthetic—historical and cultural memory—demonstrating Tian Qinxin′s aspiration to evoke vanishing memories of old Beijing in the public consciousness, thereby crafting what she envisions as a "civilian epic" of the city.
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  Guan Hanqing and Mei Lanfang: Masters of Traditional Opera at the Confluence of Historical Eras

  Xu Zifang

  Sichuan Drama. 2025, 0(11): 15-19.

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  Guan Hanqing was the only master of Yuanqu who excelled simultaneously in playwriting and stage performance. The Yuan Zaju he represented fully embodied the folk art tradition of Chinese opera, which was inherited by later local operas, including the "Huabu" and even Peking Opera. Mei Lanfang′s achievements and influence were established on the commercialized opera stage of the Republican Period. Through his personal practice of innovation, whether in the performance skills of Dan roles (female roles) or theoretical inspiration, pioneered new trends for his generation, making him an iconic figure in contemporary Chinese opera. In terms of respecting the essence of drama and focusing on stage creation, Mei Lanfang and Guan Hanqing are connected. As representatives of ancient and modern opera artists respectively, their status is inevitable within their historical and temporal contexts. Only by centering creation and performance on the stage can opera practitioners remain rooted in the soil of artistic life and possess a foundation for transmission to posterity; otherwise, it risks drifting increasingly away from contemporary life.
Special Topic/Localized Practices and Cross - regional Dialogues of Tianjin - style Peking Opera
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  Inheritance and Innovation of Tianjin Peking Opera Since the 20th Century

  Zhou Hejun

  Sichuan Drama. 2025, 0(11): 20-24.

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  Tianjin Peking Opera possessing profound foundations and extensive influence.holding a unique position and significant importance in the history of Chinese Peking Opera. This article focuses on several key areas: Tianjin Peking Opera′s contribution to the Pihuangqiang system since the 20th century, the influence of Tianjin′s martial arts performances on Peking Opera art, the innovations brought by the Peking Opera reform movement to Tianjin Peking Opera, the practice of Tianjin Peking Opera and the performance art of Dan roles (female roles), and the reform and development of Tianjin Peking Opera after the founding of the People′s Republic of China. It attempts to excavate the specific content of Tianjin Peking Opera′s inheritance and innovation, summarize its developmental patterns and dissemination experiences, aiming to provide reference for the inheritance and development of traditional opera in other regions.
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  Local Experience and Practical Predicaments:Cultural Reflections on Tianjin Peking Opera′s Performances in Japan Since the New Era

  Kong Yan, Chen Fulong

  Sichuan Drama. 2025, 0(11): 25-29.

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  How local narratives can effectively convey China′s stories remains a challenge in the overseas dissemination of Chinese culture. In recent years, cultural "going global" initiatives across regions have provided valuable practical insights to address this issue. As a major hub of Peking Opera, Tianjin initiated performances in Japan over a century ago, contributing significantly to Sino-Japanese cultural exchange. Since the New Era, Tianjin Peking Opera performances in Japan have become more frquent, These efforts have accumulated transferable local experiences for the cross-cultural communication of intangible cultural heritage resources. Narrating China′s stories effectively must encompass both the "traditional" and the "modern" China, as well as balance the "local" within China and "China" within the local. Only through such an approach can civilizational dialogue and mutual learning be achieved in broader and deeper dimensions.
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  Exploring the Community of Tianjin Peking Opera Piaoyou During the Republican Period

  Lan Jizhou

  Sichuan Drama. 2025, 0(11): 30-33.

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  The community of Tianjin Peking Opera piaoyou (amateurs) formed a unique cultural phenomenon during the Republican Period, characterized by its distinctive organizational models and mechanisms of identity formation. This community operated through fixed venues such as tea houses, drama societies, and private homes, forming an institutionalized mode of operation. Simultaneously, centering on the core cultural concept of "wan piao" (amateur performance for enjoyment), members constructed a comprehensive symbolic system through specific jargon, use of costumes and props, and discussions of stage art standards. This shaped a "player" identity for the piaoyou community, distinguishing it from professional performers. The coexistence of characteristics such as "non-professionalism", "self-entertainment", and "sociality" reflects the development of urban opera culture during the Republican Period, providing an important perspective for its understanding and observation.
Opera Studies
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  Exploring Liang Qichao′s Theatrical Thought from a Cross Cultural Perspective

  Zhu Han

  Sichuan Drama. 2025, 0(11): 34-38.

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  As a distinguished modern scholar and a political leader of the "Reformist" faction, Liang Qichao demonstrated remarkable originality in dramatic creation, theory, and practice, setting himself apart from his contemporaries. He regarded traditional Chinese opera as a popular artistic medium with a subtle yet profound influence on people′s understanding of the world. Motivated by the goal of "enlightening the populace" and fostering a "new citizenry", Liang embarked on a path of theatrical reform. Within the crosscultural context of learning from the West in modern China, he actively adapted Western historical narratives for the Chinese stage. Although these plays tended to lack intense dramatic conflict, they highlighted cultural confrontation and conveyed a clear nationalist consciousness.Liang′s reflections on drama not only inherited the classical scholars′ phonological and poetic aesthetics but also drew upon Western evolutionist theory, asserting that the development of popular literature constituted "a crucial stage in the evolution of literature." His epistemological and methodological insights remain highly instructive for contemporary studies of literature and art within comparative SinoWestern frameworks.
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  On the Creative Exploration of the Wu Opera Haoqi Chunqiu:On the New Adaptations and New Performances of Traditional Local Operas

  Wu Hanxian

  Sichuan Drama. 2025, 0(11): 39-44.

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  Haoqi Chunqiu is revised and adapted from the traditional Wu Opera repertoire Shui Qin Pang De. While respecting the tradition of the genre, it attempts new explorations on both textual and performative levels. Textually, it employs a creative approach of "filling gaps and completing the narrative", expanding the original into a full-length play with a complete storyline, thus striking a balance between the modern dramatic requirement for "narrative unity" and the traditional opera′s original purpose of "serving performance". Performatively, it strives to preserve the essence of Wu Opera while continuously incorporating experience from Peking Opera′s Hongsheng ("red-face" male roles) performances, pioneering the portrayal of an elderly Guan Gong by a Wu Opera male role actor. Certainly, the modern adaptation of traditional repertoires is a dynamic process. How Haoqi Chunqiu can be further refined through continuous polishing to better highlight the distinctive characteristics of Wu Opera remains worthy of attention and exploration, also offering further food for thought regarding the new adaptation and new performance of traditional operas today.
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  Theatrical Tension and the Expression of "Female Power" in Yue Opera New Dragon Gate Inn from the Perspective of Cultural Symbols

  Liu Saisai

  Sichuan Drama. 2025, 0(11): 45-48.

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  From the perspective of cultural semiotics, this paper analyzes the artistic innovation, contemporary value, and the all-female performance paradigm of the Yue Opera New Dragon Gate Inn, aiming to elucidate the diverse charm of women in the new era as manifested in the production, as well as its unique contribution to the preservation of traditional opera and the dissemination of outstanding Chinese traditional culture. Female audiences from Generation Z, driven primarily by social needs, regard artistic creation and appreciation as a means of acquiring spiritual sustenance. In this process, they absorb and resonate with the "female power" depicted and propagated by the work. In the current digital era, characters portrayed by female performers cross-dressing as male roles have garnered fervent acclaim and sparked extensive discussion among young audiences both domestically and internationally. As a "markedness" in cultural semiotics, such representations play a special and critical role in inheriting and promoting the development of Yue Opera.
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  The Semiotic Features of Dialogue in Sichuan Opera Scripts

  Tang Min

  Sichuan Drama. 2025, 0(11): 49-53.

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  Dialogue constitutes the main body of Sichuan opera scripts and serves as the most essential basis for readers to construct the possible worlds of Sichuan opera. To understand how the possible worlds of Sichuan opera scripts are constructed, one must first clarify the semiotic features of their dialogues. As a traditional theatrical form, Sichuan opera has its own distinctive dramatic conventions, which not only determine its performance style but also influence its entire system of signification. The dialogue in Sichuan opera scripts is an important component of this semiotic system. Its sign forms, meanings, and functions are all shaped by the opera′s unique conventions. Therefore, in order to understand the semiotic features of dialogue in Sichuan opera scripts, it is necessary to analyze them from three perspectives: features related to sign forms determined by theatrical conventions, the characteristics of dual axes, and the functional features of signs.
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  Digital Practice and Revitalization of Yiyang Opera in the Artificial Intelligence Era: Technological Empowerment and Cultural Sustainability

  Luo Yuhan, Wang Xiaowan

  Sichuan Drama. 2025, 0(11): 54-57.

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  Using "technological affordance" as a theoretical lens, this study examines the empowering mechanisms of artificial intelligence technology in the digitaltransmission of Jiangxi′s Yiyang opera, drawing on the policy practice of analysis of the "Yiyang Opera Protection and Inheritance Regulations" and cases of cutting-edge digital technology applications. It reveals how digital technology reconstructs the logic of Yiyang Opera′s survival and cultural practices, as well as the dialectical tension between technological empowerment and cultural subjectivity. The article proposes a "technology-culture synergy model," emphasizing the dialectical unity of technological empowerment and cultural subjectivity, and offers an innovative paradigm with both theoretical depth and practical value for the digitalization of intangible cultural heritage.
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  The Tragic Power of Guan Hanqing′s The Injustice to Dou E

  Wang Luyao

  Sichuan Drama. 2025, 0(11): 58-60.

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  As a magnum opus of Chinese classical opera, Guan Hanqing′s Yuan-dynasty Zaju, The Injustice to Dou E derives its tragic power from the playwright′s profound exposition of the roots of its characters′ suffering and his poignant depiction of the destruction of a virtuous yet powerless woman. Through an analysis of the play′s social context, the tragic protagonist′s portrayal, and the soaring, impassioned melodies of Beiqu, this paper unravels the sources of its enduring emotional impact. By evoking audience empathy for the protagonist′s fate and prompting self-reflection, The Injustice to Dou E transcends time and space, securing its status as a classic and affirming the artistic sublime of Chinese classical tragedy.
Theatrical Space
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  Deconstruction and Reinterpretation:Ancient Traditions and Modern Political Memory in the Theatre of Theodoros Terzopoulos

  Huang Jue

  Sichuan Drama. 2025, 0(11): 61-65.

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  Even though contemporary Greek theatre director Theodoros Terzopoulos is rather well-known in China, Chinese critics and researchers have mainly focused on the physicality and ritualistic elements in his theatre works, often overlooking another crucial dimension: memory. By situating Terzopoulos’ works within a broader context of modern Greek theatre, one gains a new perspective on his artistic intentions. His approach to physicality ultimately aims to trace the elusive memories, both cultural and personal, through the release of bodily energy. This dual purpose dismantles the homogenized historical narratives shaped by modern Greek nationalism, exposing the reality of cultural hybridity, while simultaneously re-examining ancient heroes from a perspective of outcasts, re-casting ancient tragedies into mirrors of contemporary society.
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  Emotional Structure: Raymond Williams′ Cultural Study of Dramatic Form

  Guo Xiaoxia, Lu Yao

  Sichuan Drama. 2025, 0(11): 66-71.

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  Drama is a unique art form that combines both text and performance, while emotional structure refers to the collective emotional experiences of a given era, which are conveyed through artistic expressions. As a social experience articulated through art, emotional structure emerges from the dynamics of social relations, including class conditions, industrial economies, and cultural institutions. In Raymond Williams′ cultural study of drama, the concept of emotional structure offers two key analytical approaches to understanding the relationship between emotional structure and dramatic form. First, it examines dramatic form within the broader context of social relations. Second, it explores how dramatic form serves as a vehicle for expressing social experiences. Williams′ work not only introduces a novel dramatic theory—one that defines drama as a cultural form—but also highlights the extent to which contemporary society has become increasingly dramatized.
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  The Transformation of Dramatic Art Space in the Era of Intelligent Digitalization

  Gan Yangyu

  Sichuan Drama. 2025, 0(11): 72-76.

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  The evolution of dramatic art space reflects both the history of technological advancement and the broader trajectory of human civilization. From the open spaces of ancient Greek theaters to the perspective stages of the Renaissance, and to the intelligent dramatic art space that combine reality and virtuality today, the ongoing "spatial turn" is experiencing yet another technological revolution, marking a new civilizational milestone. The application of intelligent technologies, such as spatial computing and virtual reality, has transformed dramatic art space from the physical confines of traditional theaters into multidimensional digital stage environments. This has given rise to immersive and interactive "Third Spaces" beyond the conventional theater, exemplifying the shift from information technology to intelligent technology. Digital theatre, as a new form of drama, leverages edge computing and parallel computing to directly integrate real-life experiences into theatrical narratives. This paper systematically explores the historical evolution of dramatic art space as well as the characteristics of the evolution of dramatic art space in the digital-intelligent era, and provides insights for the construction of digital theaters during this emerging technological revolution and civilizational shift.
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  The Expansion and Reconstruction of Literary Classics:On the Theatrical Adaptation and Stage Presentation of Red Poppies

  Wang Yanbing

  Sichuan Drama. 2025, 0(11): 77-80.

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  The continual crossmedia adaptations of A Lai′s novel Red Poppies testify to the enduring cultural influence and artistic vitality of modern Chinese literary classics. The stage play Red Poppies (2021) remains faithful to the core storyline and spiritual essence of the original work while achieving a creative transformation for the stage. Through the multiple perspectives embodied by the Fool, the novel′s central figure, the play constructs a multilayered narrative structure that integrates Western dramatic aesthetics with indigenous aesthetic traditions, thereby forming a distinctive audiovisual style. This adaptation exemplifies an expansion and reconstruction of the literary classic, offering valuable insights into the contemporary theatrical reinterpretation of major Chinese literary works.
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  Luminous Sensibility and Profound Rationality: Imagery and Aesthetic Expression in the Stage Design of Soma Flower

  Wu Xizhou

  Sichuan Drama. 2025, 0(11): 81-85.

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  Stage design′s imagery expression distills a creator′s most authentic experiences, infusing the work with genuine emotional resonance. It encapsulates the designer′s creative vision, artistic sensibilities, cultural insights, technical ingenuity, and profound understanding of the dramatic narrative. The stage design of the dance drama Soma Flower exemplifies this fusion: by peeling back surface appearances to grasp essential truths, it employs vivid visual imagery and rich emotional texture to convey dramatic themes. Breaking free from spatiotemporal constraints, it crafts a stage imagery that embodies both the thematic spirit of the drama and the visual beauty of theatrical art.In contemporary stage design, this approach perpetuates the enduring spirit of Chinese aesthetics-where the immediacy of live performance is elevated by clarity of artistic vision and continuous refinement of creative concepts.
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  The Evolution, Hotspots, and Reflections of Domestic Drama Communication Research from an Intercultural Perspective: An Analysis Based on Relevant Literature in CNKI (1992—2024)

  He Bo, Cheng Huawei

  Sichuan Drama. 2025, 0(11): 86-91.

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  The intercultural perspective in drama communication not only highlights the diversity of theatrical cultures, enabling their exchange and mutual enrichment, but also promotes understanding and respect among distinct theatrical traditions. This paper analyzes relevant domestic literature on drama communication research published in CNKI (China National Knowledge Infrastructure) between 1992 and 2024, identifying three core knowledge clusters: 1) macro-level exploration of intercultural theories and phenomena in drama, 2) meso-level analysis of multicultural and artistic expressions in the intercultural communication of drama, and 3) micro-level research on the intercultural dissemination of Chinese drama. Additionally, this study identifies three emerging research trends—multi-level dialogue, paradigm transformation, and theoretical consciousness—offering valuable insights and guidance for future studies in the field.
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  Affectional Experience, Emotional Narrative and Community Aesthetics: The Emotional and Rational Generation Mechanism of New Mainstream Movies

  Zhou Xing, Wu Xiaozhong

  Sichuan Drama. 2025, 0(11): 92-97.

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  How to construct the "emotional and rational generation mechanism" which accords with the audience′s aesthetic appreciation and narrative acceptance is a key issue to be paid attention to in the development of new mainstream films. First of all, the starting point of the mechanism is to establish the "affectional experience" which appeals to the emotional relationship between the functional aesthetics and the integration of the subject. Secondly, "emotional translation" translates affectional experience into emotional expression, uses "emotional narrative" to realize the translation of characters′ desires and emotional behaviors, and uses positive affections and affectional moments to form the dynamic logic of emotional narrative. Finally, the "emotional and rational generation mechanism" aims to achieve the "community aesthetics" from the affection/emotion to the communication and interaction of the sense of reason, and promote the aesthetic sublimation of the emotional community and the community meaning.
Audio Visual Explorations
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  Cultural Memory and Emotional Rhetoric:The Aesthetic Transformation of Contemporary Chinese Films on Aging

  Li Guocong

  Sichuan Drama. 2025, 0(11): 98-102.

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  In recent years, digital media have empowered new forms of cultural imagination and emotional identification. As a philosophically rich mode of discourse production, the cinematic representation of aging in Chinese films has begun to reconstruct collective cultural memory through a dual movement of genre expression and auteur strategies. Within an elder-centered visual rhetoric, these films shape a new "silverhaired" aesthetic landscape, generating subjectivities that resonate with deeper social structures. Despite current constraints in market expansion and thematic innovation, films about the elderly continue to enter issueoriented spaces of meaning dissemination, driven by their intellectual vigor and affective appeal within the context of social and cultural transformation. Therefore, it is necessary to examine both the historical trajectories and realworld dilemmas of this cinematic type, to summarize the aesthetic transformations and modern experiences embedded in Chinese films on aging, and to explore how they construct imagery through the intertwined dimensions of cultural memory and emotional rhetoric. This inquiry aims to offer an alternative perspective for rethinking the paradigms of contemporary mainstream cinematic discourse.
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  Shanshui Imagery and Poetic Rhetoric in Zhang Ming′s Films

  Zhong Mengxiao

  Sichuan Drama. 2025, 0(11): 103-108.

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  In Zhang Ming′s films, Shanshui emerges not as a realistic reproduction of space but as a freehand poetic rhetoric. Within this framework, Shanshui transcends its role as a mere visual landscape, becoming instead a crystalline form that defies superficial appearance. In its temporal rhetoric, Shanshui distorts, folds, and alternates cinematic time, creating a fluid, non-linear temporality. In its spatial rhetoric, Shanshui transforms from a tangible, realistic space into a phenomenological field of vision—a depth of field where desire unfolds, and the landscape becomes a site for the emergence of the mind′s yearnings. In its bodily rhetoric, Shanshui functions as a metonymy, embodying a sensual poetics of the body. Within the filmic world enveloped by Shanshui, a unique and subtle human-land emotionality takes root and proliferates, hinting at the emergence of an original Chinese Shanshui film aesthetics.
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  Theater in the Ears: The Multidimensional Soundscapes of Radio Drama

  Feng Lanfeng, Kong Linghui

  Sichuan Drama. 2025, 0(11): 109-113.

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  Radio drama, as an art form that communicates through sound alone, has entered a golden age in recent years. Whether analyzed through the social and cultural dimensions of keynotes, soundmarks, and signal sounds, or examined via the compositional techniques of field recordings, artistic rendering, and auditory enrichment, radio drama reveals a vibrant, multidimensional soundscape. For enthusiasts, this medium offers therapeutic solace—moments of pain relief and emotional comfort—while its immersive soundscapes spark aesthetic imagination, fostering deep personal identification. In an accelerated society, radio dramas weave a dual melody of coupling and detachment: they connect listeners to shared narratives while offering escape from the noise of modern life. Rather than dismissing their popularity as fleeting, we must approach radio drama with nuanced objectivity, recognizing its role in the resurgence of auditory culture. By excavating the expressive potential of sound in radio drama and mapping its multidimensional soundscapes, this study illuminates the flourishing of sound media within the broader return to listening—a phenomenon demanding critical attention.
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  A New Journey for Animation in the Era of Artificial Intelligence:An Academic Review of the "Fantasy Animation in Spring" Unit at the 15th Beijing International Film Festival

  Chen Bo′er

  Sichuan Drama. 2025, 0(11): 114-116.

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  Against the backdrop of the era where artificial intelligence (AI) technology is rapidly empowering the animation industry, the "Fantasy Animation in Spring" thematic animation event at the 15th Beijing International Film Festival brought together government representatives, academic experts, and industry elites. In-depth discussions were held on topics including the high-quality development of China's animation industry, AI-enabled animation creation, and the modern transformation of traditional culture. This event explored the opportunities and challenges brought by AI to animation creation, providing theoretical guidance and practical pathways for propelling the Chinese animation industry onto the global stage and advancing it amidst the new technological revolution and the wave of globalization.
Cultural Integration
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  Exploration of the Symbiotic and Complementary Relationship between Comic Opera and Sichuan Opera:From Cultural Memory to Functional Value

  Zhang Xudong

  Sichuan Drama. 2025, 0(11): 117-120.

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  This article takes the examples of the comic opera It Never Ends and the Sichuan opera The Story of Su Shi to deeply analyze the symbiotic and complementary relationship between the two in terms of Bashu cultural memory inheritance, aesthetic connotation, and functional value. Firstly, this article explores the commonalities between the two in inheriting local cultural memories such as the Sichuan dialect and tea houses. Secondly, it analyzes the highly unified and integrated aesthetic connotations of Bashu culture between the two, such as comedy genes and ethical values. Finally, it discusses the complementary relationship between the two in terms of comprehensiveness and flexibility as well as the functional value of intangible cultural heritage. Through the analysis of the above three levels, this paper further considers how to promote the protection and inheritance of comic opera and Sichuan opera and promote the prosperous development of Bashu opera culture.
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  The Creative Logic of Integrating Anti-corruption Drama into the Construction of a Clean Culture in the New Era

  Gong Yuanlei, Tang Maolin

  Sichuan Drama. 2025, 0(11): 121-124.

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  The construction of integrity culture in the New Era constitutes a critical task for advancing full and rigorous Party self-governance and fostering a sound political ecosystem. Anti-corruption drama, leveraging its profound historical heritage, rich artistic expressiveness, and distinctive cultural dissemination attributes, plays a vital role in cultivating and promoting integrity culture. This paper delves into the functional value and feasible pathways for integrating anti-corruption drama creation into integrity culture construction. By analyzing theoretical discourses on the functions of drama, reviewing the historical evolution of anti-corruption drama, and summarizing contemporary creative practices, the study aims to provide new insights for advancing integrity culture development in the New Era.
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  New Quality Productive Forces:A Catalyst for the Integrated Development of Sichuan Opera and Cultural Tourism

  Zhou Li, Chen Weide

  Sichuan Drama. 2025, 0(11): 125-128.

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  The emergence of new quality productive forces plays a pivotal role in driving the integration of Sichuan Opera and cultural tourism. Through a comprehensive analysis of this convergence′s inherent trends, theoretical frameworks, and empirical case studies, this study demonstrates how new quality productive forces can infuse fresh vitality into the synergistic development of Sichuan Opera and cultural tourism. However, the application of these forces in fostering this integration faces significant challenges. To overcome these, it is essential to explore innovative pathways—including reforming Sichuan Opera′s performance models,cross-disciplinary collaboration on Sichuan Opera, constructing a robust industrial ecosystem, and cultivating specialized talent. By addressing these dimensions, this study aims to advance the heritage and innovation of Sichuan Opera while stimulating the prosperity of the cultural tourism sector.