In addition to the above-mentioned participation in a variety of arts festivals in different ways, different treatment of scripts is also a way of the overseas development of Chinese theater. In the environment of British theater in 2012, some very interesting phenomena seem to indicate a possibility and a future.

Scripts are the soul of theatrical creation, which may not be fully recognized in contemporary performing arts. However, when it is not easy for productions to tour, the convenience and flexibility of scripts can be easily seen. Translation, adaptation and re-creation of Chinese plays, as well as new productions by Chinese playwrights in Western creation environment all constitute the overseas existence of Chinese theater in a sense.

除了上文提到的以不同的方式參與各種藝術節,對戲劇文本不同的處理也同樣是中國戲劇在海外發展的一 種方式。2012年在英國戲劇環境下,一些非常有意思的現象似乎在昭示是一種可能性,一種未來。

戲劇文本是戲劇創作的靈魂,這也許在當代表演藝術中不能被完全的認同,但是在作品不能被輕易巡演 時,劇本的快捷性和靈活性就被凸顯出來。無論是中國劇本的翻譯,改編,再創作,或者是中國編劇在西方 創作環境下的新創作,都在某種意義上構成中國戲劇在海外的存在。

G1.Graham T urner (Dr Cheng Ying) and Siu Hun Li (Guard)


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