Since the turn of the new century, three pivotal trends have emerged in the field of Chinese opera composition: engaging with tradition, adapting to modernity, and transcending traditional stage boundaries. Theory, closely intertwined with practice, has evolved in response to creative innovations. Over the past 25 years, Chinese opera theory and criticism have revolved around two central axes: the reaffirmation of traditional values and the construction of a modern consciousness. A critical review of key theoretical issues in Chinese opera since the new century represents an investigation into the central concerns of contemporary Chinese opera discourse. This involves not only a reaffirmation of traditional values within the framework of preserving intangible cultural heritage but also a reevaluation of historical opera, as well as an exploration of the conceptual foundations and future directions of small-theater opera and immersive opera. These discussions collectively contribute to a deeper reexamination of fundamental issues within the value systems and practical approaches of Chinese opera.

Over the course of its 120-year development, Chinese cinema has deeply engaged with three fundamental questions regarding its evolution: what path it should take; for whom it serves, and what types of people it should portray. At this 120th anniversary milestone, the sinicization of Chinese cinema has advanced within the framework of cultural confidence. The people-centered stance and mission have been further reinforced through diverse and vivid representations of the populace, while the presentation of national aesthetic styles has contributed Chinese wisdom and solutions to the global cinematic landscape.

As China entered the modern era, the nation that had long been characterized by poverty and weakness, underwent a profound spiritual transformation during the turbulent period of the War of Resistance against Japanese Aggression. The interplay between drama and historical context, politics, reality, and the war itself shaped the creative paths of dramatists, establishing the ideological foundation for their works. Drama dedicated to the war effort became central to the ideological stance of dramatists, forming the core of their theatrical vision. Ouyang Yuqian thus viewed the drama movement as intrinsically linked to the national liberation struggle. He rejected the pursuit of tastes by intellectual elites, transcended the limitations of practical circumstances, and embraced his role as a chronicler of the war against Japanese aggression. Guided by the principles of drama for the war of resistance, Ouyang Yuqian actively contributed to various theatrical initiatives around the time of the Southwest Drama Exhibition. Through his involvement in these theater-based national salvation movements, he made substantial contributions to both the theoretical and practical development of China′s new drama.

In the 1930s and 1940s, Ouyang Yuqian produced over a dozen plays depicting the war, which bear distinct regional characteristics, particularly those of the Northeast, Shanghai, and the Southwest. Rooted in the cultural traits of these regions, Ouyang′s works deepened and reshaped the national spirit through three key dimensions: the spirit of martyrdom, the spirit of resistance against Japanese aggression, and a profound sense of patriotism. By positioning the timeline of the War of Resistance as the horizontal axis and the geographical coordinates of the three regions as the vertical axis, these plays collectively present a panorama of the war. Additionally, drawing on the traditions of Chinese classical drama, Ouyang actively contributed to the sinicization and localization of modern spoken drama.

Between 1938 and 1946, Ouyang Yuqian created three plays set in Guilin, namely Getting Fatter as the Fight Goes On, Lovely Guilin, and Night Talks in Guilin, each constructing a distinct image of the city.Getting Fatter as the Fight Goes On, written shortly after his arrival in Guilin, portrays the city as passive and silent, positioning it in contrast to Shanghai as the "other" of the bustling metropolis.Lovely Guilin, penned during the "great evacuation" period, captures the city′s charm and vibrancy.Night Talks in Guilin, composed after the victory of the War of Resistance, presents Guilin as a place in urgent need for transformation yet brimming with hope.The representations of Guilin in these three works reflect Ouyang Yuqian′s deep reflection on the city′s role during the War of Resistance against Japanese Aggression. An investigation into these plays will allow for a more comprehensive understanding of the cultural history of Guilin as the site of the War of Resistance and the national spirit it contains.

Kunqu Opera, which originated from Wuyu (a form of folk song in the Wu region) and developed on the basis of Nanxi (Southern Opera), bears distinct folk attributes. After Wei Liangfu introduced the "Shuimo Diao" (Water-polished Tune, the core singing style of Kunqu Opera, known for its smooth and refined melody) during the Jiajing period of the Ming Dynasty, a division emerged between "Refined Kunqu" and "Folk Kunqu". The development of "Folk Kunqu" can be divided into two stages, demarcated by the mid-Qing Dynasty: "integrating elegance into vernacularity" and "abandoning elegance for vernacularity". These stages reveal notable differences in performance styles, thematic content, and organizational structures.The evolution of "Folk Kunqu" after the mid-Qing Dynasty played a dual role: it not only contributed to the preservation and vitality of Kunqu opera but also served as a bridge linking the literati traditions with the popular genre of Huabu Luantan (a general reference to local operas). This development challenges the traditional dichotomy between "folk opera and refined opera," offering important insights into the opera ecology of the Jiangnan region during the late Qing Dynasty.

Stacked acrobatics played a prominent role in the variety shows of Tang Dynasty. As part of the strength-based performances, stacked acrobatics underwent significant innovation in performance techniques during this period, contributing to the evolution of Chinese acrobatic art. This study explores the costumes of stacked acrobats in Tang Dynasty variety shows through iconographic analysis and comparative study of archaeological imagery. By categorizing and comparing these materials, the study identifies distinct typological characteristics of the costumes, highlighting both similarities and differences with the daily attire of Tang Dynasty individuals. Notably, the costumes worn by children performing stacked acrobatics and the footwear of the acrobats exhibited unique features. Additionally, the costumes of stacked acrobats shared interconnected and interchangeable elements with those of other acrobatic genres from the same era, while also incorporating the "danceability" aspects found in the costume designs of other performance forms within the variety shows.

Enlightenment/Salvation plays originated from the Immortal-Taoist plays in Yuan zaju (Yuan dynasty poetic plays). As a key expression of Taoist thought, they embodied significant religious themes. Flourishing in the Yuan and Ming dynasties, these plays gradually declined during the Qing dynasty, yet the Enlightenment/Salvation motif endured, becoming a defining theme in traditional Chinese theatre, eventually transcending its original genre.The Enlightenment/Salvation motif highlights the interplay between artistic creation and social culture, not only reflecting the dissemination of Taoist ideas but also enriching the artistic value of Chinese theatre.

Over her more than 60-year career, Xu Fen has produced numerous theatrical works, demonstrating her remarkable ingenuity and profound insight, significantly contributing to the development of contemporary Chinese opera. Scholars have extensively explored her innovative adaptations of existing themes, her conceptualization and practice of "stagecraft without acts and with an empty stage", as well as her distinctive creative vision and unique female perspective as a playwright. A systematic review of the relevant theoretical achievements not only highlights Xu Fen′s artistic contributions but also identifies gaps in current research. Such an examination can stimulate more in-depth academic discussions and further enrich the academic community′s understanding and interpretation of Xu Fen′s works.

Since the mid-to-late 20th century, Huangmei Opera has upheld its artistic traditions while actively integrating elements from other theatrical forms to achieve breakthroughs and innovation. As a prominent genre of modern Western drama, musical theatre offers distinctive artistic techniques and innovative musical concepts that serve as valuable references for Huangmei Opera′s reform. Given its relatively low degree of formalized vocal patterns, Huangmei Opera has adapted several elements of musical theatre, giving rise to a new hybrid genre: "Huangmei Opera Musicals". However, this process of absorption and transformation carries risks. Over-assimilation of musical theatre elements may dilute Huangmei Opera′s unique characteristics, undermining the distinctive identity of the genre.

The "discursive" narrative is a defining characteristic of George Bernard Shaw′s dramas. Through dramatic discussion, Shaw not only created vivid and compelling characters but also developed intricate and precise theatrical situations that conveyed the theatrical philosophy he championed. Shaw was a staunch advocate for realistic drama, emphasizing that theatricality arises from real life and the complexities of human nature. He placed significant importance on the internal ideological contradictions within individuals, introducing the "theory of ideological conflict" alongside the concept of dramatic discussion. For Shaw, dramatic discussions were rooted in the relationships between characters, requiring a well-defined cause-and-effect context, with the human being as the central element. As an innovative technique in Shaw′s dramatic oeuvre, dramatic discussion served as a powerful tool for exploring the hidden depths of characters' inner worlds, simultaneously illuminating the essential relationships between them.

In the theatrical creations of Singaporean Mandarin dramatist Kuo Pao Kun (1939-2002), his allegorical writing—from the use of imagery and the creation of scenes to its structural logic—exhibits a distinct formal characteristic defined by the interweaving of metaphor and alienation. This not only expands the interpretive space of his plays and strengthens their character of social engagement, but it also actualizes the unique expressive potential of theatre as an art form that transcends cultural boundaries. For the development of Singapore′s multi-ethnic society, this body of work serves as an introspective allegory. Furthermore, it holds significant artistic, practical, and methodological importance for the question of how theatrical arts in the age of globalization can remain rooted in local contexts and mother-tongue cultures while effectively fostering intercultural exchange and mutual appreciation.

Since the beginning of the new millennium, the number of original and performed Korean national operas has increased significantly. According to the Korean Ministry of Culture and Tourism, from the premiere of Korea′s first national opera, Chunhyangjeon, in 1950 until 1999, a total of 44 national operas were newly created and premiered domestically over a 50-year span. In stark contrast, 146 new national operas premiered in Korea after 2000, more than triple the total from the previous 50 years.The study reveals that, under the combined influence of numerous factors—such as the hosting of regional opera festivals, implementation of supportive policies, funding projects for opera at both the national and local levels, and the cultivation and preparation of professional opera talent—Korean national opera has entered a path of rapid revival since 2000.

Cross-cultural adaptation represented a significant approach to theatrical creation and became a central strategy for modern drama troupes to sustain their operations in wartime Shanghai. During this period, cross-culturally adapted plays displayed pronounced commercial characteristics, both in the selection of repertoire and in the processes of localization and adaptation. The commercial orientation of these adapted plays was shaped by multiple factors. First, it reflected the unique political context of Shanghai under occupation. Second, it was influenced by the mass consumer culture that had emerged in the city since its establishment as a treaty port. Third, it responded to the inherent commercial imperatives accompanying the professionalization of modern drama. Overall, cross-culturally adapted plays of this era were distinct from the overtly commercialized “civilized drama,” an early form of modern Chinese theater. They maintained relatively high artistic value and played a meaningful role in advancing the modern drama movement in wartime Shanghai.

The dance drama Du Fu, premiered in 2016, was choreographed by Han Zhen and Zhou Liya and written by Tang Dong. It won the 10th China Dance "Lotus Award" for Dance Drama and received three rounds of funding from the National Arts Fund of China. After revising and refining the production, Du Fu embarked on a national tour in 2022, reigniting widespread acclaim.The ballet adopts a modular, block-like structure to depict the historical shift of the Tang Dynasty from prosperity to decline. It portrays the life of Du Fu (the "Poet Sage"), highlighting his compassion for the common people, his unwavering ideals, and his defiance against power and oppression. The drama also celebrates his realist poetry, which reflected the struggles of ordinary people. Through stark contrasts, symbolism, and metaphor, the choreography seamlessly integrates Du Fu′s poetic works, delivering a concise yet powerful artistic narrative. Du Fu stands out as a paragon among dance dramas of its kind, celebrated for its artistic depth and emotional resonance.

With the continuous evolution of digital technology, debates about the essence of cinema have grown increasingly intense. In reality, cinematic art has exhibited a regressive tendency, which can be examined from at least three perspectives: viewing, projection, and language. Whether it is the return to private viewing modes, the diverse and varied projection methods, or the revisiting of old materials in films, all these aspects reveal cinema′s attempt, with strong momentum, to rethink its essence and revive life. In this context, drawing on Aby M. Warburg′s intellectual legacy for contemplation seems to offer a way to avoid falling into the trap of infinite regression, thereby opening up a "synthetic" research perspective and methodology.

The aesthetic ideas inherent in the Chinese aesthetic tradition have shaped the national aesthetic characteristics of Chinese cinema. By examining Chinese cinema through the aesthetic concepts of "Xu-Shi""Dao", and "Yijing", it becomes evident that Chinese cinema distinctly exhibits creative features rich in national aesthetics in terms of visual style, aesthetic intentions, and aesthetic realms. Chinese cinema, which creates "Xu-Shi" through "Ge" , presents a visual style where substance and function complement each other. This refers not only to the fusion of images of people and objects but also to the unity of tangible images with emotional and spiritual elements. "Dao", interpreted aesthetically through Confucianism, Taoism, and Buddhism, generates the aesthetic meanings of "the Dao of Benevolence", "the Dao of Nature", and "the Dao of Harmony", respectively, influencing the aesthetic intentions of Chinese cinema. The aesthetics of artistic conception have influenced the creation of artistic realms in Chinese cinema. This is manifested in three aspects: the fusion of scene and emotion where "the object and I are both forgotten", the freehand brushwork of "image becoming void", and the aesthetic realm of "the essence beyond the flavor".

Metaverse science fiction films manifest the spatial juxtaposition within multidimensional universes. By employing technological deconstruction, the interplay between virtual and real, and narrative enrichment, these films balance the relationship between virtual space and real space. They not only serve as vehicles for plot development but also acquire new significance within the narrative context of science fiction cinema. This study explores the multiple subjects and their relationships within the digital communities of metaverse science fiction films, as well as the disparities between the virtual worlds crafted by cinema and the conceptual frameworks of the metaverse. Furthermore, it investigates the formation and developmental processes of digital communities within science fiction films.This study effectively reveals the internal logic and aesthetic pursuits of film art in constructing metaverse imaginations, thereby providing new perspectives for understanding the future social forms and cultural changes.

Amid the complex social landscape ,the public finds itself trapped in a paradox—grappling with efficiency anxiety and information overload while simultaneously yearning for a return to authentic living. This contradiction has presented traditional film and television communication with challenges such as the difficulty in breaking through existing social barriers, insufficient mechanisms for effective emotional resonance, and ultimately, the continuous decline in communication efficacy.The television drama Meet Yourself innovatively constructs a tripartite ritualized communication pathway of "symbolic translation-emotional resonance - behavioral transformation",and has achieved a remarkably significant crosssphere effect, providing a practical paradigm for the film and television industry to achieve cross-demographic resonance. While this cross-sphere effect yields significant communication dividends, it is concurrently accompanied by discernible side effects. Consequently, while pursuing the breadth of communication reach, film and television creation should also emphasize cultural profundity,both avoiding entrapment in ephemeral spectacles of cultural consumption and striving to construct sustainable mechanisms for enduring value sedimentation.

As a comprehensive audio-visual medium, the art of cinema has undergone significant transformations, evolving from silent black-and-white films to color films with sound. Throughout this process, color, as an essential visual element, has gradually developed from serving a merely representational function to becoming a richly expressive artistic language. Color not only influences the visual presentation of films but also plays a crucial role in narrative construction, emotional communication, and thematic expression. In the film Oppenheimer,the creative contrast between black-and-white and color scenes delivers a powerful visual impact, opening up new possibilities for cinematic expression and development.

With the advancement of 5G technology and the emergence of media convergence, the integration of offline performances and online streaming—hereafter referred to as "dual-performance integration"—has become a prominent creative form and cultural product within the global theater industry.Currently, a significant number of theatrical works exemplifying dual-performance integration are emerging both domestically and internationally. This trend not only caters to the diverse preferences of audiences but also fosters innovations in theatrical artistry. In light of this development, it is imperative to engage in comprehensive reflections on several critical aspects within the framework of a "grand theater perspective". These include: the audio-visual expressive characteristics of various artistic forms, such as drama, traditional Chinese opera, folk art, and dance drama; the conceptual definition of dual-performance integration within the context of Chinese theater; the analysis and differentiation of its formal characteristics and artistic styles; and the optimization of communication pathways associated with this form of theatrical expression.

During the Long March, the Chinese Workers' and Peasants' Red Army leveraged Sichuan Quyi-a down-to-earth folk art form with deep public resonance-to mobilize and secure mass support. Historical records of quyi works from this period reveal how the genre faithfully captured the Red Army′s experiences in Sichuan, serving as an ideological tool to awaken the masses, a spiritual weapon against tyranny and injustice, a source of resilience in overcoming hardships, and a catalyst for cultural confidence. These works stand as a historical testament to the Sichuan people′s solidarity with, assistance to, and participation in the Red Army′s cause. As a cherished cultural heritage, Sichuan Quyi holds enduring artistic and contemporary significance. In the new era, unearthing its "red DNA" can help revitalize its traditional roles-depicting, inspiring, educating, and serving the masses-thereby contributing to the construction of a culturally strong nation.

Bringing Chinese opera into schools is a vital effort to educate the public about this art form, transmit its cultural DNA, and preserve its living traditions. Currently, however, these activities often prioritize form over substance and technical skills over moral education in their selection of operas, which undermines their educational objectives. To address these issues, practical pathways for integrating patriotic sentiment into campus opera activities can be explored from multiple dimensions, including curriculum development, activity design, environmental cultivation, and the establishment of long-term mechanisms. By doing so, these activities can effectively cultivate patriotic spirit, develop well-rounded character, enhance cultural confidence, and promote the holistic development of students.

Sichuan′s Tibetan-Qiang-Yi Circle Dance is a unique form of ethnic dance possessing profound historical and cultural significance. Viewed through the lens of ethnic cultural integration, it serves as a vivid manifestation of ethnic interactions, exchanges, and integration; an important symbol of ethnic unity; and a crucial vehicle for ethnic identity and cultural transmission. Currently, influenced by various factors, the inheritance and development of this dance face numerous challenges, necessitating the urgent exploration of effective transmission pathways. In conclusion, achieving holistic preservation and sustainable development of the Tibetan-Qiang-Yi Circle Dance is conducive not only to advancing the protection and transmission of intangible cultural heritage (ICH) but also to safeguarding cultural diversity and promoting ethnic solidarity.