黑龍江省文聯(lián)主席傅道彬

如今，學(xué)術(shù)研究的面貌發(fā)生了重要的改變，考據(jù)實(shí)證的解決方法，以計(jì)算機(jī)為代表的手段進(jìn)入了學(xué)術(shù)領(lǐng)域，學(xué)術(shù)研究更加強(qiáng)調(diào)技術(shù)的規(guī)范、論證的嚴(yán)謹(jǐn)和成果錄入的準(zhǔn)確清晰。這樣的研究具有一定的合理性，但不能成為淡化思想的理由。一些學(xué)者只熱衷于資料收集，忽視了理論辨識(shí)。其實(shí)，真正的學(xué)術(shù)，不僅是技術(shù)性的，更是思想性的、理論性的，考據(jù)里面沒有思想做引導(dǎo)是支撐不起來的，技術(shù)條件下完成的引證也不是真正意義的引證，一些材料必須經(jīng)過思想的過濾和理論的消化。

FU Daobin (President of Heilongjiang Federation of Literary and Art Circles)Currently great changes have taken place in the outlook of academic research. Digital measures represented by computer technology have entered our academic research as a solution for textual criticism and concrete evidence, and thus standard technology, strict procedure of argument and accuracy in data input are more stressed. Though there is a certain reasonable ground, such measures should never provide for ignorance of our thinking. Some scholars, though keen on collecting materials,are hardly concerned with theoretical judgment. As a matter of fact, the true academic research is more of thinking and theory than of technology. Without the backbone of theory and thinking, any evidence in argument over with the updated technology conditions, will never constitute a genuine proof. Some materials must be digested and filtered through our thinking and theory.

香港亞洲演藝研究藝術(shù)總監(jiān)毛俊輝

今天的戲曲劇本，在提供戲曲表演藝術(shù)空間的同時(shí)，是否更需要仔細(xì)考慮創(chuàng)作的核心價(jià)值是什么？故事的精神是否與現(xiàn)代人生活體驗(yàn)有連接或?qū)Ρ鹊牡胤?？敘述或編排的手法又能否令觀眾感覺合情合理、自然投入？至于怎樣向國外的觀眾推介中國的戲曲，形式是一回事，但劇本只要有思想內(nèi)容、有可演性可觀性、能打動(dòng)觀眾，形式根本不是一個(gè)問題。反而一些與時(shí)代脫節(jié)、虛無縹緲或是為新而新、空洞無聊的新創(chuàng)作，不管哪里的觀眾都很難接受。

MAO Junhui (Art Supervisor of Asian Performing Arts Studio in HK)

While providing art space for Chinese traditional opera performance, shall today’s playwrights give a second thought of the core values of their creation? Do their stories have any connection with or contrast against the contemporary living experience? Do their ways of narration or choreography bring the audiences into a natural and reasonable plot like their vivid life? Art form seldom hinders our introduction of Chinese traditional operas to overseas audiences so long as the plot is blessed with significant thoughts, interesting tastes and touching points. However, those so-called 'new creation', in absence of reality, of void contents and boring novelty will invariably be refused by audiences worldwide anywhere.

內(nèi)蒙古大學(xué)藝術(shù)學(xué)院副院長宋生貴

在當(dāng)代新的經(jīng)濟(jì)、文化背景之下，對(duì)少數(shù)民族藝術(shù)進(jìn)行包括審美文化資源在內(nèi)的自覺整合與調(diào)適是必需和重要的。其中，特別是要尋求并激活在當(dāng)代新的背景之下發(fā)展各少數(shù)民族藝術(shù)的因子和機(jī)緣，并在文化層面上獲得新的生長點(diǎn)。當(dāng)代藝術(shù)批評(píng)在這方面應(yīng)該有所作為，如以其理論的自覺，在切實(shí)掌握少數(shù)民族藝術(shù)資源的基礎(chǔ)上，分析其在當(dāng)代背景下實(shí)現(xiàn)有效生存和發(fā)展的需要；在倡導(dǎo)并營造多元共生的當(dāng)代文化景觀中認(rèn)識(shí)不同少數(shù)民族藝術(shù)的美學(xué)價(jià)值。

SONG Shenggui (Vice President of Art College of Inner Mongolia University)

In the current economic and cultural background, it is necessary and important to make integration and adjustment on arts of minority nationalities, including aesthetic cultural resources. Particularly, it is a must to find and revitalize the key point, and opportunities to develop various arts of minority nationalities,and achieve a new growing point in culture, to which the contemporary art criticism shall make its own contribution. For example, on the basis of mastery of art resources of minority nationalities, art critics shall consciously provide an analysis on how to fulfill the survival and development in the current context,and enable readers to understand the aesthetic values of minority nationalities by advocating and establishing harmony of varied cultures and arts.

廣東省作協(xié)主席蔣述卓

文化傳統(tǒng)是一個(gè)民族穩(wěn)定的精神基座，文化傳統(tǒng)要完成現(xiàn)代價(jià)值的創(chuàng)造性轉(zhuǎn)化，離不開當(dāng)代文藝評(píng)論的批評(píng)實(shí)踐。一方面，從文化脈絡(luò)來說，強(qiáng)調(diào)文化傳統(tǒng)與當(dāng)代社會(huì)的接軌與融合，是對(duì)中國文化傳統(tǒng)之根的體認(rèn)與再造，也是當(dāng)代社會(huì)弘揚(yáng)文化傳統(tǒng)以及中華民族文化復(fù)興的題中之義；另一方面，文化傳統(tǒng)作為一種精神和思想資源，應(yīng)該以其繼承性與超越性，成為當(dāng)代思想文化建設(shè)的重要精神來源，進(jìn)而對(duì)當(dāng)代文藝?yán)碚摰谋就两?gòu)產(chǎn)生積極影響。而這必須建立在文化傳統(tǒng)與當(dāng)代文藝評(píng)論之間的互動(dòng)與對(duì)話之中。

JIANG Shuzhuo (President of Guangdong Writers Association)

As a spiritual foundation of national stability, cultural traditions must be creatively transformed with the contemporary values, which is indispensible with the critical practice in contemporary literature and arts.On the one hand, stress on the connection and integration of cultural traditions with the current society is considered to be confirmation and innovation of the traditional merit, of Chinese culture as well as a significant purpose to promote cultural tradition in the current society as well as the cultural rejuvenation of Chinese nation. On the other hand, as a kind of spiritual and thinking resource, cultural tradition,shall survive the time passage and become a key source for contemporary ideological and cultural construction, and then exert a positive impact upon the native constructions of contemporary theory on literature and arts. Of course, this process must be realized in the dialogues and interaction between cultural traditions and contemporary literary and art criticism.

臺(tái)灣“中華廣播電視節(jié)目制作商業(yè)同業(yè)公會(huì)”理事長汪威江

回顧15年兩岸影視交流，可以劃分為五個(gè)階段：第一階段， 1988年到1999年，是兩岸在引進(jìn)、協(xié)拍、合拍上合作交流最風(fēng)光的年代；第二階段，2000年國家廣電總局頒布“關(guān)于進(jìn)一步加強(qiáng)電視劇引進(jìn)、合拍和播放管理的通知”，對(duì)合拍、引進(jìn)做出了嚴(yán)格的限制；第三階段，自2008年1月1日起給予兩岸合拍劇享受國產(chǎn)劇的待遇，得以在黃金時(shí)段播出；第四階段，2011年11月30日“關(guān)于進(jìn)一步推進(jìn)兩岸廣播影視界加強(qiáng)合作交流”的四項(xiàng)新措施出臺(tái)；第五階段，由于競爭力不足、新媒體沖擊等原因，臺(tái)灣電視劇退出大陸傳統(tǒng)電視市場。

WANG Weijiang (President of Chinese Broadcast and TV Production Guild in Taiwan)

In retrospect of the past 15 years of film and TV exchange across the Straits, five periods can be obviously seen. Period One (1988-1999) was the prime time for introduction, co-production and production assistance across the Straits. Period Two started from the year 2000 when State Administration of Film,Radio and Television stipulated a strict restriction on introduction and co-production. Period Three starts from January 1, 2008 when the co-production of TV dramas were allowed to be on show at daily prime time as those local productions. Period Four started from November 30, 2011 when four new measures of “Further Promotion in Radio, Film and TV Cooperation and Exchange across the Straits” were issued.In Period Five, due to lack of competitiveness and for challenges of new media, Taiwan TV dramas had to give up the conventional TV market of Mainland.

澳門大學(xué)中文系主任朱壽桐

我們的文藝批評(píng)，有一種文化的間性，不同的藝術(shù)和文體之間，有其區(qū)別和聯(lián)系，評(píng)價(jià)尺度也是不一樣的。所以，我們要重新調(diào)整文藝批評(píng)的邏輯。文藝批評(píng)的學(xué)術(shù)性寫作，有可能離開批評(píng)家的本體感受。如果僅僅將文藝批評(píng)理解成學(xué)術(shù)研究，文藝批評(píng)就會(huì)走入一個(gè)困境：文章越來越不好看，除非要仔細(xì)校對(duì)才看。文藝評(píng)論家要對(duì)文藝所表現(xiàn)的社會(huì)和文明作出富有個(gè)性的解讀，讓文藝批評(píng)寫作充滿詩性、充滿魅力；要以與文學(xué)藝術(shù)有間性關(guān)系的審美寫作，來超越死板的經(jīng)院批評(píng)，讓文藝批評(píng)的本體更加豐富。

ZHU Shoutong (Dean of Chinese Language Department of Macao University)

Our literary and art critical essay is blessed with a cultural compatibility. Between varied arts and writing styles, there are differences and connections, and measures for evaluation vary as well. Thus, we need to readjust the logic of literary and art criticism. The mere academic research atmosphere will probably neglect the critic’s subjective feelings and make the essay too boring to read. Critics should provide an individual interpretations about society and civilization in literature and arts, with poetic interess and humanist attration. Only those critical essays of compatible aesthetics can surpass the stereotyped academic thesis and enrich the contents of literary and art criticism.

澳門科技大學(xué)人文藝術(shù)學(xué)院院長張志慶

文化傳承和國家形象塑造，必須面對(duì)兩個(gè)趨勢(shì)，第一個(gè)趨勢(shì)是中國的崛起，中國的國家形象日益受到國內(nèi)和國際的關(guān)注。第二個(gè)趨勢(shì)是全球化的進(jìn)程，尤其是進(jìn)入互聯(lián)網(wǎng)時(shí)代后，除了經(jīng)濟(jì)全球化、政治全球化，還具有文化全球化的強(qiáng)大趨勢(shì)。而文化全球化帶來文化的同質(zhì)化。在今天，文化不是一個(gè)物理的概念，需要在混合的、流動(dòng)的話語當(dāng)中去考察。我們要強(qiáng)調(diào)文化傳承是國家形象塑造的前提。我們要充分認(rèn)識(shí)到文化及其認(rèn)同的歷史性，調(diào)整力量，同時(shí)強(qiáng)調(diào)學(xué)術(shù)的力量、民間的力量和年輕人的力量，利用新媒體，來尋求文化傳統(tǒng)的現(xiàn)代轉(zhuǎn)換。

ZHANG Zhiqing (Head of Humanity and Arts College of Macao University of Science and Technology)

Before inheriting culture and establishing national image, we must face two tendencies. Firstly, with the revival of China, China’s national image has received an increasing attention both at home and abroad.Secondly, the process of globalization, especially in the Internet age, is gaining more power in economy,politics and culture. The cultural globalization has caused identical presentation in varied cultures.Currently, culture is no longer a physical concept and needs to be examined in the mixed and dynamic context. We must stress that cultural inheritance is the very prerequisite for establishing national image.Fully aware of cultural and historic power, we must rely on academic research, massive participation and youth passion to realize the contemporary interpretation of cultural tradition in the carrier of new media.

上海市文藝評(píng)論家協(xié)會(huì)主席汪涌豪

文藝評(píng)論當(dāng)然要昭示批語主體的文化立場。當(dāng)今中國的文藝評(píng)論要發(fā)展，沒有自己原創(chuàng)性的發(fā)明與自洽性的體系建設(shè)，而一味張皇西方的理論、西式的論證肯定是不行的。相反，必須堅(jiān)持主體的自我主張，讓自己的理論構(gòu)造能接續(xù)上自來的傳統(tǒng)，并在此基礎(chǔ)上求得進(jìn)一步的擴(kuò)充與延展。其間，努力開顯文藝評(píng)論的“漢語性”顯得尤其重要。所謂“漢語性”不僅指傳統(tǒng)文藝批評(píng)皆用漢語書寫，故需符合漢語的邏輯與規(guī)范；乃至也不僅指基于這種邏輯與規(guī)范，今天的文藝批評(píng)應(yīng)當(dāng)在批評(píng)的用語與方式上更多顧及傳統(tǒng)趣味，體現(xiàn)傳統(tǒng)的格調(diào)與意境。

WANG Yonghao (President of Shanghai Literary and Art Critics Association)

In any literary and art criticism, the critic’s cultural position must be obvious. Without original patent and coherent system construction, the mere imitation of Western theories and arguments will find no way to develop China’s contemporary literary and art criticism. On the contrary, any critic’s ideal must be adhered to so as to integrate his or her own theory into the tradition and then achieve a further expansion and development. Particularly, it is extremely important to highlight our “Chinese-style” criticism on literature and arts. “Chinese-style” means that all critical essays must be written in the Chinese language and in accordance with mandarin logic and grammar. Moreover, the traditional aesthetics, tastes and elegance should be restored in the ways of expression and composition.

臺(tái)灣師范大學(xué)講座教授劉國松

世界上分東西兩大畫系，東方畫系是水墨畫，西方畫系是油畫。雖然兩大畫系所用材料和技法，在呈現(xiàn)的作品上看，有很多不同之處，但它們有一個(gè)人類的共同點(diǎn)，就是藝術(shù)家對(duì)精神的追求。在繪畫形式上，從寫實(shí)到寫意，到抽象概念的表現(xiàn)，兩個(gè)畫系的發(fā)展不同。我們?cè)幸粋€(gè)偉大的繪畫傳統(tǒng)，為何后來會(huì)沒落？西方把中國藝術(shù)元素發(fā)揚(yáng)光大，我們?yōu)楹尾蛔约喊褌鹘y(tǒng)發(fā)揚(yáng)光大？畫家不要小看自己，畫家和科學(xué)家是一樣的，都是人類文明史的創(chuàng)造者。畫室也是實(shí)驗(yàn)室，畫家要考慮如何將新的思想、新的技法落實(shí)在作品上。

LIU Guosong (Guest Professor of Taiwan Normal University)

There are two divisions in the world painting. The oriental division is characterized by water and ink while the occidental division is featured by oil painting. Despite many differences in adopted materials,techniques and ways of presentation between the two divisions, artists’ spiritual pursuit becomes the common ground of mankind. As for painting forms, realistic expression evolves into freehand and even abstract conception, which showcases the different developments of the two divisions. We were once blessed with a great tradition in painting, and we need to ponder over the reason why we are now left behind. While our western peers make full use of Chinese elements in arts, why can’t we revive our own tradition in the current canvas? We should never underestimate our values as any painter, just like a scientist, is the creator of human civilization history, and his or her studio is just like a lab for scientists new experiments. What a painter needs to consider how to present new ideas and skills in their aitistic.

香港一新美術(shù)館總監(jiān)楊春棠

博物館教育于19世紀(jì)下半葉傳入上海，發(fā)展至今，無疑，博物館已被公認(rèn)為負(fù)起社會(huì)教育、終生學(xué)習(xí)的文化場所。博物館的教育范圍當(dāng)然不限于文物和藝術(shù)品。我們的博物館應(yīng)該有一個(gè)重要使命，就是保育和推廣中華文化。這“中華文化”是廣義的，包括古和今、傳統(tǒng)和現(xiàn)代、歷史、藝術(shù)、科學(xué)以至中外文化交流。博物館應(yīng)設(shè)法鑒別展品，評(píng)論展品，找出展品的文化背景。政府和民間機(jī)構(gòu)應(yīng)共同參與文博事業(yè)，各適其式。只要善用人力物力，任何大、小博物館都可以對(duì)中華文化的發(fā)展作出貢獻(xiàn)。

YANG Chuntang (Director of Sun Museum in HK)

Museum education was introduced to Shanghai in the latter half of the 19thcentury and so far has been commonly recognized as a cultural venue for social education and lifetime learning. Certainly, the educational scope of a museum shall never be limited within relics and artifacts. Our museum should shoulder solemn responsibility to preserve and promote Chinese culture. In a macroscopic definition,Chinese culture involves ancient times and the current age, tradition and modernity, history, arts, science and exchanges between China and the world. Museums should endeavor for genuine exhibits, provide captions and discover the cultural background for each exhibit. Government and nongovernmental organizations should commonly participate in museum education in their own way. In a proper manner, any museum, regardless of its size, can make its own contribution to the development of Chinese culture.

澳門大學(xué)教育學(xué)院副教授張澤珣

中國彩塑藝術(shù)為我們留下無數(shù)處的世界文化遺產(chǎn)，因較多顯示地域的特色，我們甚至無法尋覓到很具體的外來影響。然而，如果將中國彩塑置于歷史的脈絡(luò)中，并對(duì)其造型、圖像、主題內(nèi)容等進(jìn)行比較研究的話，我們就能發(fā)現(xiàn)中國彩塑的發(fā)展，通過古代絲綢之路的往來交流，是如何吸收外來文化的，同時(shí)中國的文化藝術(shù)通過絲綢之路傳播和影響著西方。以新疆龜茲石窟藝術(shù)作為討論主體，可以找出龜茲石窟藝術(shù)與印度、希臘和伊朗文化的關(guān)系，也可以看到中原文化藝術(shù)對(duì)龜茲的影響，同時(shí)通過絲綢之路傳播至西方。

ZHANG Zexun (Associate Professor，F(xiàn)aculty of Education，Macao University)

Chinese painted sculpture has left us numerous world cultural heritages, but due to its apparent regional locality, it is exceedingly hard for us to find a clue concerning specific influence from outside world.However, in the historical context, a comparative study of its figure, image, theme and contents will enlighten us on how Chinese painted sculpture absorbed foreign cultures through exchanges along the ancient Silk Road to attain development. In the meanwhile, the Silk Road enabled Chinese culture and arts to reach the West and exert a significant influence. For example, the discussion on Qiuci Grotto Art in Xinjiang demonstrates the relationship of this art with the cultures of India, Greece and Iran, as well as the impact of culture and arts from Central China that was spread to the West through the Silk Road.

北京舞蹈學(xué)院教授金浩

談到中國古典舞蹈的當(dāng)代審美鑒賞，我認(rèn)為有五方面內(nèi)容需要把握：身韻對(duì)于傳統(tǒng)舞蹈“破神入形”的特征提取、中國古典舞“形神勁律”的審美法則、把握傳統(tǒng)韻律展開“變奏”、側(cè)重寫意的純舞性“意蘊(yùn)”和敬惜歷史文化資源“整合”。每個(gè)人都有著對(duì)中國古典舞蹈精神不同的理解與感知，舞蹈意味著超逸的渴望，它穿越了藝術(shù)的斑斕時(shí)空，讓整個(gè)生命隨之舞動(dòng)起來，使自己獲得支配生命的熱情。正是因?yàn)椤拔璧傅墓ぞ摺比巳私杂校藗儾艜?huì)對(duì)中國傳統(tǒng)舞蹈藝術(shù)出現(xiàn)新的審美期待。

JIN Hao (Professor of Beijing Dance Academy)

When mentioning the contemporary aesthetic appreciation of Chinese classical dance, I think that the following five points must be taken into consideration: dancer’s figure charm in highlighting role’s feature, aesthetic law of “Figure, Charm, Momentum and Rhythm”, variation of traditional rhythm,freehand spiritual vision in pure dance, and respectful integration of historical and cultural resources. As everyone gains a different understanding and knowledge of the spirit of Chinese classical dance, dance means aspiration for transcendence over the brilliance of arts as well as domination of vitality while dancing through the whole life. With their bodies always available for dance, people naturally show new aesthetic expectation towards the traditional Chinese dance art.

黑龍江省文聯(lián)副主席于文秀

當(dāng)今時(shí)代，文化的一個(gè)突出特點(diǎn)，就是界限的內(nèi)爆——各種場域、事物、現(xiàn)象乃至理論都模糊不清，不再界限分明。原創(chuàng)與模仿、文學(xué)與娛樂之間難以分辨，尤其是媒介成為中心和強(qiáng)權(quán)，更多地干預(yù)著文學(xué)場中的結(jié)構(gòu)和規(guī)則，甚至改變著文學(xué)的走向。在媒介干預(yù)下的文學(xué)，審美取向和標(biāo)準(zhǔn)也趨同娛樂界的標(biāo)準(zhǔn)，年輕主義和性感美學(xué)，成為“70后”“80后”眾多女作家的文化資本和殺手锏?！?0后”“80后”作家在經(jīng)過年齡、經(jīng)驗(yàn)、思想的沉淀后，應(yīng)該有更深的思考和超越，不委身于物化時(shí)代的綁架，走出物化時(shí)代的蔭蔽。

YU Wenxiu (Vice President of Heilongjiang Federation of Literary and Art Circles)One of the most outstanding features of culture is the blurred limitation of different domains in our times, which has caused similar blurred phenomenon and theory. It is increasingly hard to tell original ideas from imitation or literature from entertainment. Particularly when media becomes the powerful ceuter, it interferes with the structure, rule and tendency of literature more and more frequently. In this circumstance, the criterion and aesthetics of literature become identical with that of entertainment.Priority of youth and sex attractions has become the cultural capital as well as trump card of massive women writers who were born in the 1970s and 1980s. However, instead of being kidnapped by this material age, those women writers wsll harvest their experience and thinking with the adracement of their sge and achieve a profound transcendence.

臺(tái)北藝術(shù)大學(xué)戲劇系教授鐘明德

陶身體劇場的跨文化魅力在于其舞者“活生生的身體”——觀眾在了解舞者身體行動(dòng)所傳達(dá)的意義之前，就已經(jīng)被某種很原始的、非日常的能量攫獲了。劇場創(chuàng)始人陶冶反復(fù)強(qiáng)調(diào)“重復(fù)”“極致”“無聊”和“信仰”，他藉由“重復(fù)”這種減法來去除掉身體的日常習(xí)性，讓身體活過來，產(chǎn)生斯坦尼斯拉夫斯基和葛羅托斯基兩位大師所談到的“有機(jī)性”——身體處于一種高度敏感活潑、能量充沛的狀態(tài)。斯坦尼斯拉夫斯基、葛羅托斯基和巴爾巴的論述為所有的前衛(wèi)藝術(shù)創(chuàng)作者——包括陶冶——指出一條直通“本質(zhì)體”的藝術(shù)大道。

ZHONG Mingde (Professor, Theatre Department of Taipei University of the Arts)The trans-cultural attraction of Tao Dance Theatre lies in the “l(fā)iving bodies” of dancers because the audiences have been carried away by such primitive and unusual power before they comprehend the message conveyed by dancers’ body language. TAO Ye, the founder of Tao Dance Theatre, always stresses upon “repetition”, “extreme”, “boredom” and “faith”. By means of “repetition”, he intends to reduce the daily mechanism, to revitalize the body’s energy and to realize the “organic status”—a body condition of high sensitivity and full energy, which was mentioned by such two masters as Stanislavski and Grotowski. Such elaborations by Stanislavski, Grotowski and Barba have pointed out a straight passage to the essence of arts for all avant-garde artists, including TAO Ye.

香港藝發(fā)局委員及藝術(shù)評(píng)論組主席盧偉力

中國文化視“體”“相”“用”為萬事萬物的理則，意象是體用的中介，而這三種理亦互相聯(lián)系。意象普遍存在于東西方，因此，用意象來分析也許可調(diào)和東西方批評(píng)傳統(tǒng)的差異。在中國，意（意思）、言（表達(dá)）、象（意象）是一個(gè)概念的三面。它們雖然看來有點(diǎn)含混，關(guān)系卻不復(fù)雜。而讀者或聽眾首先接收的是作者的言，從而得象，繼而得作者之意。因此中國意象學(xué)派有說法謂“得象忘言，得意忘象”之說?？傊?，中國現(xiàn)代戲劇在東西方交匯的文化氛圍下，在傳統(tǒng)與現(xiàn)代的辯證過程中，可能性很多，中國學(xué)派的戲劇分析將會(huì)有更大的發(fā)展。

LU Weili (Member and Chair of Artistic Critics of Hong Kong Arts Development Council)

In Chinese culture, “body”, “phenomenon” and “function” are three inter-related dimensions of everything in the world, within which “vision” in its further is the medium of “body” and “function”. As a universal concept available in the East and the West, “vision” analysis may ease the differences between critical traditions of the East and the West. In China, meaning, expression and vision are three aspects of a concept.Despite blurred definitions, those three have a less complicated relationship. Readers or listeners will receive expression first, and then vision and finally meaning, which is witnessed in an old Chinese saying “meaning over vision and vision over expression”. In a word, in a cultural atmosphere of integration between the East and the West and in the dialectical course of tradition and modernity, there will be far more possibilities in China’s contemporary theatre, and therefore Chinese scholars’ theatre analysis will witness a higher development.