Core Viewpoint - The article emphasizes the importance of developing a Chinese-style theatrical perspective that reflects the unique cultural and aesthetic qualities of Chinese civilization while integrating traditional and contemporary elements [1][3][5]. Group 1: Historical Context - The exploration of the Chinese-style theatrical perspective is rooted in a historical continuum that spans thousands of years, from ancient performances to modern forms like Peking Opera and Kunqu [2][3]. - This historical evolution has led to a rich array of expressive forms and aesthetic relationships between performers and audiences, characterized by both inclusivity and distinctiveness [2][3]. Group 2: Artistic Expression - Chinese drama incorporates various artistic elements such as poetry, music, dance, and painting, resulting in a unique artistic feature that prioritizes meaning and emotional depth [4]. - The creative approach of the Chinese-style theatrical perspective emphasizes innovative transformation and development, viewing tradition as a dynamic process rather than a static relic [4][5]. Group 3: Cultural Confidence - The Chinese-style theatrical perspective is grounded in cultural confidence, recognizing the unique value of Chinese aesthetic spirit in the context of international theatrical dialogue [5][6]. - A deep understanding of Chinese civilization's history and culture is essential for effectively showcasing Chinese stories and voices on the global stage [5][6]. Group 4: Contemporary Practice - The National Theatre of China has actively engaged in creating works that reflect both traditional and contemporary themes, drawing inspiration from the rich cultural resources of Chinese civilization [5]. - The development of a Chinese-style theatrical methodology aims to elevate Chinese drama to a level comparable to the world's highest theatrical standards, contributing to national strength and cultural revival [5][6].

名为"风雪"，舞台却不见雪。在闫锐看来，《风雪夜归人》的最大特质是诗境美，风雪在每个人心中， 是种"念天地之悠悠，独怆然而涕下"的意境，"故事是写实的，表现是可以大写意的"。于是我们看到， 昆笛余韵袅袅，板鼓声声惊心，一桌二椅、幔帐浮动、枯枝倒悬，舞台充满留白写意与想象空间。 吴祖光的经典之作，1957年夏淳导演的首版舞台演绎，如何注入新的思考？人生如戏，戏中有戏。《思 凡》《红拂记》等昆曲片段有机融入剧情，颇具哲学隐喻。"借问灵山多少路，十万八千有余零"，借 《思凡》一句，新版点出启蒙与觉醒的主题。"无论讲什么故事，都脱离不了中国审美，脱离不了中国 人的思想和中国文化的肌理。" 全剧最美的，当数首尾极富象征意味的两场戏。开场，风雪交加，老年莲生卧倒雪地，青年莲生在远景 轻纱后独舞，由海棠幻化的年轻的玉春在一侧思念，对比强烈；结尾，莲生与玉春两人手持海棠，翩翩 起舞，宛若"化蝶"，凄美至极。"强化海棠，无非是将人物命运与意象表达扭合在一起。"闫锐觉得，托 物寄情，本是与《游园惊梦》《牡丹亭》等传统戏曲一脉相承的"氛围感"，因为"舞台就是'造梦'的空 间"。 时隔近七十载，"风雪夜"再现舞台。 作为北京人艺"经 ...