东西问·中国学丨杨慧林："中国学"何以是"世界的"？ 中新社上海10月13日电 题："中国学"何以是"世界的"？ ——专访中国人民大学原副校长、大华讲席教授杨慧林 中新社记者 樊中华 第二届世界中国学大会即将在上海开幕，来自全球的500余位学者共为"中国之学"带来"世界视角"。从昔日的古典文献译介到今日的全球对话，世界认识 中国的方式何以发生演变？今天构建"中国叙述"又为何需要各国学者共同参与？近日，中国人民大学原副校长、大华讲席教授杨慧林接受中新社"东西 问"专访，对此进行解读。 现将访谈实录摘要如下： 中新社记者：西方对中国的研究最早起源于对中国古典文献的译介，文学作品在促使西方了解中国方面发挥了怎样的作用？ 杨慧林：文学作品积淀了一个民族最深层的文化记忆，是理解一种文化生态的直接入口，西方对中国的认知也是如此。中国古典文献的西译当然离不开文 学作品，这些文学作品将中国传统的价值观和社会风貌呈现于生动的故事，而独特的叙述方式本身也成为中国传统的一部分，因此其受众往往遍及不同阶 层，可能是其他文献难以替代的。 例如美国开国元勋杰斐逊在起草《独立宣言》之前，曾为其内弟推荐过一份书单，其中与中国相关的两本书都是 ...

Core Insights - The "Youth Blooming: Drama Gathering in Beijing-Tianjin-Hebei - 2025 University Student Drama Exhibition" showcases the vibrant creativity of students from 14 universities, featuring 15 performances that include both original works and classic adaptations [2][3] Group 1: Event Overview - The event spans three days and is hosted at the Beijing People's Art Theatre, highlighting the artistic talents of university students [2] - Participating universities include Central Academy of Drama, Beijing Normal University, Nankai University, Hebei University, and Hebei Media University [2] Group 2: Educational Impact - Experts from the theatre provided hands-on guidance to students in scriptwriting, directing, and acting, emphasizing the theatre as a platform for spiritual exchange and social understanding [2][4] - The collaboration between universities and the theatre aims to enhance the professional skills of students and foster a deeper appreciation for theatrical arts [4] Group 3: Notable Performances - The performance "No. 1 Dashi Zi Hutong" by Tianjin Commercial University draws inspiration from the life of Yan Fu, a modern thinker and educator, focusing on his ideological contributions [2] - Nankai University's "Zhang Boling" reflects on the founder's legendary life, showcasing the importance of thematic choices in drama as a reflection of worldview and values [3] - Central Academy of Drama's adaptation of "Thunderstorm" creates a beautiful aesthetic experience, while other performances like "Double Snow Record" and "Zhao's Orphan" reinterpret classical works from fresh perspectives [3]

Core Perspective - The article highlights the unique contributions of Tian Qinxin, the director and president of the China National Theatre, emphasizing her focus on grand narratives and deep humanistic concerns in her theatrical works [1][10]. Group 1: Artistic Vision and Influence - Tian Qinxin describes drama as her "best friend," emphasizing its irreplaceable artistic value and the unique interaction between actors and the audience [2][4]. - Her works, such as "Life and Death Field" and "Green Snake," showcase her ability to blend traditional Chinese aesthetics with contemporary artistic concepts, creating innovative stage expressions [4][5]. - The recent production "Su Di Chun Xiao" reflects her exploration of historical narratives and the human experience, revealing the depth of the character Su Dongpo [5][7]. Group 2: Leadership and Cultural Responsibility - As the first female president of the China National Theatre, Tian Qinxin aims to innovate and promote Chinese drama on the international stage, emphasizing the importance of cultural storytelling [10][12]. - The theatre has initiated programs to support young directors, encouraging them to create works that reflect contemporary societal themes and the essence of Chinese culture [12]. - Tian Qinxin envisions the theatre as a platform for showcasing the richness of Chinese language and culture to a global audience, aiming to enhance the international perception of Chinese artistic heritage [10][12].

Group 1 - The Beijing Opera House is presenting a modern Peking opera titled "Wildfire Spring Breeze Fighting Ancient City" at the Chang'an Grand Theatre from August 1 to 3 and 5 [2] - The National Symphony Orchestra will perform a concert titled "Melody in My Heart" at the National Grand Theatre on August 1 [7] - The National Peking Opera Company will stage the modern Peking opera "Wisdom Takes the Tiger Mountain" at the National Grand Theatre on August 1 and 2 [7] Group 2 - The Chinese Coal Mine Art Troupe will present "The Warm Taste" at the Beijing Poly Theatre from August 1 to 3 [10] - The Beijing People's Art Theatre will perform "Camel Xiangzi" at the Capital Theatre from August 1 to 3 [10] - The Happy Mahua Theatre will stage "This Guy is Not Bad" at the Geological Hall Theatre from August 1 to 3 and 5 to 10 [10] Group 3 - The Northern Kunqu Opera Theatre will perform "Lankeshan" at the Beijing Tianqiao Arts Center on August 2 [14] - The Northern Kunqu Opera Theatre will also present "Changsheng Hall" on August 5 [14] - The Beijing National Orchestra will hold a concert titled "Victory Light" at the Beijing Arts Center on August 23 [7][14] Group 4 - The Italian MIC Company will present the original Italian musical "Divine Comedy" at the Century Theatre from August 1 to 3 [19] - The Shanghai Opera House will perform the opera "Dream of Hua Lu" at the National Grand Theatre on August 9 and 10 [17] - The Yunnan Yang Liping Cultural Communication Co., Ltd. will stage the dance drama "Pingtan Reflection" at the Chaoyang Theatre on August 16 and 17 [17]

Core Viewpoint - The 2025 China National Theatre "CNT Live" HD Screening Season aims to leverage digital technology and AI to enhance the accessibility and quality of classic theatrical performances, promoting cultural digitalization and innovation in the performing arts industry [3][5][14]. Group 1: Event Overview - The "CNT Live" HD Screening Season was officially launched on July 15, 2025, with participation from key figures in the cultural and technological sectors [1][3]. - The event will feature eight classic works, showcasing a blend of traditional and digital performance art, and will run from July to September 2025 across 30 theaters in various cities [10][11]. Group 2: Technological Integration - The China National Theatre is transitioning from a traditional performance model to a fully digital strategy, utilizing AI and advanced technology to create high-quality visual representations of theatrical works [3][5]. - The collaboration with China Unicom and BOE Technology Group aims to enhance the viewing experience through optimized HD imaging processes and specialized broadcasting equipment, ensuring high resolution and smooth playback [8][10]. Group 3: Cultural Significance - The selected performances, including "Beijing Fayuan Temple" and "The Zhao Family's Orphans," reflect the essence of Chinese theatrical aesthetics and aim to break geographical barriers, allowing broader audience access to cultural heritage [5][11]. - The initiative is seen as a tribute to the past while also paving the way for future innovations in the performing arts, emphasizing the importance of integrating technology with traditional art forms [14].

Core Viewpoint - The article discusses the ongoing issue of box office manipulation in Chinese cinemas, particularly focusing on the recent "补票房" (supplementing box office) actions taken by cinemas that were found to have engaged in fraudulent practices during the Spring Festival period. This has led to significant financial implications for the industry, with the total amount of supplementary box office exceeding 2 billion yuan, marking one of the largest actions of its kind in history [1][5]. Group 1: Box Office Manipulation - "补票房" actions are a response to cinemas that engaged in fraudulent practices, such as inflating box office numbers, which were discovered through big data analysis [3][5]. - The concept of "影厅服务费" (theater service fee) was introduced to compensate cinemas for the operational costs of special screening rooms, but some cinemas exploited this by charging excessive fees that did not contribute to the official box office [4][5]. - The recent crackdown on these practices has revealed that many cinemas were charging service fees exceeding 30%, violating established regulations [5][6]. Group 2: Historical Context of Box Office Fraud - The term "偷票房" (stealing box office) refers to cinemas underreporting ticket sales to retain a larger share of revenue, a practice that has been prevalent since the implementation of the revenue-sharing system [6][8]. - The first major public awareness of box office fraud occurred with the release of "Avatar" in 2010, where it was estimated that over 20% of ticket sales were unreported [8]. - "挪票房" (moving box office) is another fraudulent practice where ticket sales from one film are reported under another, often to meet funding requirements or revenue-sharing agreements [9][10]. Group 3: Regulatory Measures and Industry Response - In response to the rampant box office fraud, the National Film Administration has implemented stricter regulations and is utilizing advanced technology for monitoring and enforcement [15][16]. - The industry has seen a reduction in the scale of box office fraud, with estimates suggesting that currently about 4% of total box office revenue may still be unreported [15][16]. - The involvement of fans and the public in monitoring box office practices has been highlighted as a significant factor in increasing transparency and accountability within the industry [14].