Song Junhua is a Professor and Doctoral Supervisor in the Department of Chinese Language and Literature at Sun Yat-sen University. He serves as the Director of the China Intangible Cultural Heritage Research Center at Sun Yat-sen University, a Key Research Institute of Humanities and Social Sciences under the Ministry of Education, and holds the position of Chief Expert for the "Cultural Tourism Research Base" under the Ministry of Culture and Tourism. He is also the Editor-in-Chief of the journal Cultural Heritage and Vice President of the Chinese Nuo Drama Society. His primary research interests focus on the history of ancient Chinese drama and the theory and practice of intangible cultural heritage. His notable publications include Research on Ancient Chinese Theatre Costumes and Research on the Protection of Intangible Cultural Heritage. Additionally, he leads the National Social Science Fund Major Project titled "Improvement Design Research on the Representative List System and Representative Inheritor System of Intangible Cultural Heritage Projects.

Historicity used to be the primary standard for the criticism of historical drama. However, in contemporary times, the historical element in historical dramas is merely raw material that must undergo artistic refinement and manipulation in the playwright's craft. As a result, artistic standards have become the sole significant criterion for evaluating historical drama. Drawing on a contemporary case of historical drama criticism, this paper examines the shadow of historicity within the realm of artistic authenticity. By analyzing the critical history of Chinese historical drama since the 20th century, the paper identifies and examines an aesthetic that could be termed 'historicism.' Furthermore, it discusses the constructive role of this aesthetic in the theoretical development of historical drama creation. It becomes evident that historicism has always persisted and has never truly exited the realm of historical drama criticism.

In the era of digital intelligence, the digitalization of Xiqu (the traditional Chinese opera) has become an inevitable trend. As technological advancements give rise to new media and art form, digital Xiqu, featuring digial creation, performance and consumption, has emerged as a promising future development. As Xiqu faces marginalization, digital technologies have evolved from supportive tools to symbiotic partners, reshaping the art form. However, rapid technological advancements have sparked concerns regarding spatial forms, performance subjects, and live experiences. Wihle digitalization expands the creative boundaries of Xiqu, it diminishes audience imagination and challenges the agency of performers, leading to the rise of AI-driven generative algorithms replacing human creators. By transforming contemplative logic into immersive experiences, digital Xiqu deconstructs traditional Xiqu while signaling the art's future vitality. As a result, defining digtal Xiqu as a distinct art form that both fosters the inheritance of traditional Xiqu and supports its digital evolution has become a key focus in academic discussions.

Amid the deep integration of cultural digitization and cultural technology, it is essential to examine the morphological evolution and theoretical foundations of performance digitization. Cross-media innovation within stage art marks the beginning of performance digitization. The introduction of stage projection led to the emergence of two distinct performance types: the "visual spatial narrative" that creates a cohesive theatrical space and avant-garde new media theatre. The transition from recorded broadcasts to online theatre signifies the evolution of mediated performances. The internet and mobile devices, as the "second theater," are transforming traditional theater, blurring the separation between audience and performance into a fluid, symbiotic space. As media evolution advances, the multi-dimensional construction of digital performing arts heralds the return of live performances, embedding the crucial audience-performer experience into new, dynamic scenarios that enhance the artistic value of performances.

The arrival of the digital age has impacted the intrinsic characteristics, external forms, and aesthetic attributes of traditional stage performing art, leading to their rewriting and reshaping. By interpreting the interwoven and reversible relationships between the body and subject, the body and others, and the body and the world in digital performing arts through Merleau-Ponty's concept of bodily schema, we pursue a universal and ultimate significance of the body in future stage arts. Ultimately, this constructs an aesthetic of digital performing arts that integrates subject and object, harmonizes body and mind, achieves comprehensive understanding, and fosters co-existence.

The integration of digital technology into theater raises new questions about the act of "viewing." This paper particularly focuses on how digital society and new media shape viewing mechanisms and how these mechanisms transform theater. Byung-Chul Han argues that the privacy-driven society under digital technology leads to the disappearance of ritual and performance spaces, resulting in das glatte (smooth aesthetics) for the masses. Theater viewing, rooted in consumption and centered around consumerist concepts, therefore tends toward smooth aesthetics. However, theater's inherent "vitality" offers a potential corrective to this smooth aesthetic under such viewing mechanisms. This paper addresses three key questions:What new viewing mechanisms emerge from the changes in theater under digital technology? How do these viewing mechanisms influence the development and practice of theater?How do viewers assert their agency under these new viewing mechanisms?

Wu Weiye's plays, which touch on sensitive topics such as the sorrow of literati during dynastic transitions and their moral choices, resonated deeply with the expectations of scholars during the Ming-Qing transition, earning him immediate acclaim. In the early Qing period, contemporaries compared Wu Weiye and his works to classic writers, establishing his image as an outstanding playwright. In the late Qing period, amid internal and external crises, the themes of dynastic sorrow in his plays regained relevance. Wu Weiye's status as a playwright evolved from being compared to others to being recognized as the "foremost playwright of the dynasty." In the Republican era, the introduction and development of Western pure literary concepts, along with the elevated status of novels and plays, spurred the rise of theater history studies. Wu Mei was the first to include Wu Weiye's plays in the study of ancient Chinese theater history, affirming his status as a master playwright of the Qing dynasty. Zheng Zhenduo further explored the historical value of Wu Weiye's literati plays in the Qing Dynasty, establishing him as a pioneer of pure literati theater.

During the late Qing and Republican periods, the Jiangnan region developed a cultural core embodying the concept of modern emerging cities, leading to an unprecedented prosperity in the cultural entertainment industry, with opera as its representative. From the perspective of the era and society, the transition between the old and new eras first facilitated the liberation of thought and cultural freedom in Jiangnan cities, which was reflected in urban opera performances and directly manifested in the consumption sentiments of urban citizens. In terms of form, Jiangnan cities, as the first regions to open their doors to the world during the late Qing and Republican periods, experienced the collision and integration of Chinese and Western cultures. This cultural exchange, combined with the innovations brought by modern industrial reforms, provided diverse options for opera consumption. Guided by the hotspots of opera consumption, this phenomenon significantly influenced the modernization of Chinese opera, the performance art of renowned opera artists, and the evolution of local opera genres.

In June 1931, Du Yuesheng organized a three-day theatrical event known as the n asday theatrical event l Hall Dracommemorate the completion of the Du Family Ancestral Hall. This performance was hailed as "an unprecedented event in Shanghai since its opening to foreign trade a hundred years ago." This article provides a detailed account of the preparations for this theatre event, including the establishment of the organizational structure, the invitation of famous actors, coordination of accommodation and transportation, and the preparation of the costumes and stage settings. The article aims to highlight the new development in theatre performances following the establishment of the Republic of China by examing the Du Shrine Theatre Performance, thereby reflecting both the opportunities and challenges faced by traditional opera in this new era.

Japan's systematic, scientific, and comprehensive study of Chinese drama, with historical evolution as its main thread, began during the Meiji period. During this time, one monograph on drama and eight Chinese literary works related to the history of drama were published. These works, when discussing the reasons for the late development of Chinese drama, its origins, evolution, selected dramatic texts, and critical perspectives, exhibit both commonalities and unique characteristics. Among them, Sasagawa Rinpu is credited with pioneering contributions, Kubo Tensui with furthering its development, and Mori Kainan with holding a transitional and pivotal historical position. Researching the writings on the history of Chinese drama during the Meiji period not only helps analyze the trends in Japanese Sinology at the time but also reveals the origins of Chinese drama historiography.

In March 1927, Ryūnosuke Akutagawa visited China as a special correspondent for the Osaka Mainichi Shimbun, where he developed a deep appreciation for Peking Opera. He not only observed the opera but also learned it from his Japanese companions, documenting his experiences in his essays. Akutagawa grasped the unique narrative structure of Peking Opera and offered insights into its potential for improvement, which differed a lot from those of the Osaka Mainichi Shimbun. Unlike the intellectuals of China's New Culture Movement who advocated for Westernization, Akutagawa emphasized preserving the self-unity of traditional Chinese culture amidst western influences. He lamented the loss of traditional Chinese culture due to rapid westernization, asserting that Peking Opera, as a vital cultural representative, should be preserved and enhanced to safeguard Chinese cultural heritage.

Longxu Gou serves as a quintessential example of Lao She's "narrative of the underclass" and stands as a key work representing the Beijing People's Art Theatre's exploration of poetic realism in acting. Jiao Juyin's direction exemplifies the theatre's early efforts to pursue poetic expression within realistic drama, emphasizing the importance of fostering actors' "poetic creativity" while adhering to the principle of "life truth" in stage presentations. In Gu Wei's revival of Longxu Gou, he upheld the poetic realist tradition while introducing innovative changes in ensemble construction, thematic expression, and stage presentation. The reinterpretations by Jiao Juyin and Gu Wei not only highlight the Beijing People's Art Theatre's exploration and revisit of poetic realism but also reflect the broader adoption of the Stanislavski system within Chinese drama.

Since its publication, the novel Dust Settles has been adapted into various artistic forms, including TV dramas, Sichuan opera, dance dramas, operas, and stage plays, all of which have been widely appreciated by audiences. This article analyzes the artistic effects presented in different stage adaptations of Dust Settlesand explores the decoding-encoding activities of various adaptors in relation to the original work. Through this, it discusses the cross-media narrative process from novel to drama.

The acrobatic drama Railway Heroes selects a classic "red" story for reimagination and transformation. Grounded in the essence of acrobatic art, the production situates acrobatic performances within specific dramatic contexts while deconstructing and reconstructing traditional acrobatic techniques to create characters and narrate stories. This work integrates multiple art forms, including acrobatics, drama, and dance, effectively conveying its core themes and ideological nuances through authentic and touching performances. With the support of music, lighting, imagery, and props, the production team fully explores the potential of the stage space and combines it with the actors' exceptional performances to craft an immersive viewing experience for the audience.This approach fosters an emotional resonance between the audience and the characters, thereby achieving the dramatic effect of "catharsis.

Lady Precious Stream, a four-act English drama by Hsiung Shih-I, adapted from the traditional Peking Opera The Lady with the Red Mane, has gained significant overseas circulation. Drawing on 1930s foreign reviews and documentary materials, this study examines the play through text analysis and stage performance, focusing on its modern adaptations in dramatic structure, language, and stage design. These elements reflect both the author's personal experiences and creative needs. The integration of western modernism played a key role in the play's success and enduring popularity in Western theaters.

In the wave of China's film industrialization, the mainstream transformation of domestic commercial blockbusters has formed the core developmental trajectory of new mainstream film creation. In recent years, through the construction of an industrialized production system, new mainstream films have gradually demonstrated refined, exquisite, and high-quality production standards. Supported by the theoretical framework of film industrial aesthetics, this study focuses on the practical logic of the film industrial production system, discussing three dimensions: the foundation, dimensions, and pathways of new mainstream films. It explores the production of images in reconstructed and industrial spaces, the industrial aesthetic values formed by creative subjects (producers and directors) and the industry, and the provision of popularized and mass-imagined films for audiences, thereby satisfying the audiovisual experiences of diverse groups. The continuous deepening of this path promotes high-quality creation in new mainstream films and contributes to the construction of China's path to becoming a strong film nation.

As rare cinematic representations of Nuo culture, the films Nuo (depicting Xiaotun Guansuo opera), Love of Nuo (centered on Wanzai Nuo dance), The Mates Of Exorcising Dance (featuring Nanfeng Nuo dance), and Priestess Dong (revolving around Le'an Nuo rituals) collectively construct a panoramic stylistic framework for Nuo-themed films. This is achieved through ritual reenactments, the application of Nuo elements, and aesthetic exoticism. By blending these aspects with genre-specific narratives, these films strive to integrate natural landscapes, popular storytelling and folk customs. Compared with other folkloric films, Nuo cinema prioritizes foregrounding the forms of folk customs, while the construction of the world of meaning remains underdeveloped. Telling compelling stories is crucial for deepening the cultural resonance of Nuo films, as the cinematic expression of folk customs should aim to create films that depict "historic scenes".

Qiu Gangjian, a significant figure in Chinese film history, excelled as both a screenwriter and director, producing numerous works that have become classics in Chinese cinema. His film career spanned three developmental stages, aligning with key eras in Hong Kong and Taiwan cinema. A holistic examination of Qiu Gangjian's screenwriting, tracing the evolution of his works across different stages, holds great significance and offers both positive and negative references for contemporary film and screenwriting practices.

Chinese Xiqu is a comprehensive art form that integrates literature, music, dance, acrobatics, and other elements, offering a rich array of audiovisual components. The development of electronic media, especially the advent of television, has provided an important platform for the dissemination of Chinese Xiqu. At the same time, Chinese Xiqu has contributed to television dramas in various ways, including narrative development, character creation, and emotional expression. The concept of the Yijing is an essential element of classical Chinese aesthetics, referring to the fusion of scenery and emotion. As a form of audiovisual art, the construction of the Yijing of Chinese Xiqu in television dramas enables a deep integration of soundscape, landscape, and emotion. This not only highlights the unique charm of Chinese Xiqu but also enriches the cultural significance and aesthetic expression of the drama itself.

The adaptation of online novels into films and television exhibits multidimensional characteristics that closely integrate cognitive and economic aspects. Based on the perspective of consumerism theory, this paper analyzes the current state and existing issues of online novel adaptations. It further explores strategies for adapting Sichuan online novels into films and television from three dimensions: symbolic construction, interpersonal connection, and aesthetic satisfaction. The aim is to promote the sustained prosperity of Sichuan's cultural industry in the integrated development of online literature and film.

A General Survey of the Legends Created in the Ming and Qing Dynasties is a recent scholarly work by Professor Yu Weimin, offering readers a comprehensive view of the development of legends during these two dynasties. The book not only traces the full trajectory of this literary tradition but also highlights the key moments and significant contributions within the broader narrative of its evolution. Additionally, this work serves as an exemplary reflection of Professor Yu's academic principles and intellectual pursuits. Notably, his guiding principles of ' not discovery, but invention' and 'trending towards the new rather than adhering to established norms' offer valuable insights for contemporary academia. This perspective challenges the notion that new documentation is the only logical starting point for academic innovation, suggesting instead that it represents merely one among many possible value orientations and research paradigms. Ultimately, the true aim of academic inquiry is to uncover and synthesize ideas and principles that have yet to be discovered within existing materials.

As an important tributary of the Yangtze River Basin, the Wujiang River Basin has long attracted academic attention for its rural theatrical culture. Among these, the ritual practices of Nuo opera serve as a primary basis for interpreting the rich connotations of rural theatrical culture and are a key focus of Nuo studies. Research on the origins of these rituals has already been touched upon within the broader field of Nuo studies. Based on the historical development of rural Nuo opera rituals in the Wujiang River Basin, this paper argues that these rituals possess multiple cultural attributes in the context of rural social life, including the imaginative qualities of Wu(巫) culture, the mysticism of religious culture, and the aesthetic qualities of spatiotemporal performing arts. Against the backdrop of rural revitalization in the new era, actively promoting the inheritance, development, transformation, and innovation of rural Nuo opera rituals in the Wujiang River Basin can enhance the spiritual and cultural life of rural communities and strengthen rural social governance.

The integrated development of the film & television and cultural tourism industries is a longstanding concept, which has gained renewed prominence with the introduction of national policies and the deepening of integration practices. As the connotation and scope of this integration continue to evolve, the mutually reinforcing relationship between the two sectors is increasingly evident. This is further supported by the role of social media in disseminating content across film, television, and cultural tourism, the growing consumer demand for immersive experiences, and the emphasis on storytelling. These factors collectively underpin the logic of their integrated development. Key strategies for advancing this integration include promoting symbiotic collaboration among diverse stakeholders, producing high-quality film and television works that center on culture and incorporate cultural tourism elements, extending the full value chain across both industries, and enhancing the multifaceted values generated by their fusion.