中新社记者 赵晓 2025年是中欧建交50周年，以文化艺术为媒介的各项交流活动频密开展。追溯历史，早在700多年前，意大利著名旅行家马可·波罗就已沿着古丝绸之路来到 中国。而带有中国元素的瓷器、织物、装饰品等也一度风靡欧洲，形成独树一帜的"中国风"。 "中国风"具有怎样的特征？为何在17世纪至18世纪风靡欧洲？给欧洲思想文化界带来哪些影响？中新社"东西问"近日就此专访意大利都灵大学中国语言与文 学专业教授、都灵大学孔子学院意方院长史芬娜(Stefania Stafutti)。 现将访谈实录摘要如下： 中新社记者：17世纪至18世纪，"中国风"的艺术和文化现象以哪些载体或形式传入欧洲？影响了欧洲哪类群体？ 中新社济南12月17日电 题："中国风"何以风靡欧洲百余年？ ——专访意大利都灵大学中国语言与文学专业教授史芬娜 史芬娜："中国风"(Chinoiserie)概念源自西方，指的是西方人心目中或者说想象中的中国或东方形象，其传播载体包括带有中国元素或风格的器物、建筑、 服饰等。 最早在13世纪，"中国风"传入欧洲。马可·波罗到中国旅居后带回中国器物，通过《马可·波罗游记》让欧洲人初步了解神秘的东方国度。15世纪 ...

本届"一季展演"由"原创华语音乐剧展演季"与"国际特邀"组成。"原创华语音乐剧展演季"自2012年创办 至今，累计呈现62部作品、185场演出。2026展演季精选《人间失格》《雄狮少年》《她的海》《赵氏 孤儿》四部佳作，题材横跨古今，展现华语原创步入成熟期的多元面貌。 国际特邀板块同样星光熠熠。"2026音乐剧明星系列音乐会"阵容豪华，明年3月至5月，来自7个国家的9 位音乐剧明星将轮番登台，包括伦敦西区明星阿尔菲·博伊、百老汇传奇丽娅·萨隆加、法语音乐剧代表 洛朗·班，以及德语音乐剧明星德鲁·萨里奇、玛雅·哈克福特等，他们将携手各自嘉宾朋友，呈现6台12 场音乐会。 两部法语经典也将于明年春天亮相申城：2024年中国首演即售罄的《唐璜》，将于明年4月重返上海文 化广场；舞台全新升级的《大鼻子情圣》则将于5月首次登陆上海文化广场，该剧由缔造了《太阳王》 《摇滚莫扎特》等爆款音乐剧的金牌词曲搭档菲利普·哈腾伯格与斯特凡·布鲁内罗创作，以沉浸式舞台 再现文学经典。 "一届论坛"即第15届音乐剧发展论坛，将于明年5月举办，以"融"（Integrate）为主题，邀请海内外资深 音乐剧从业者探讨音乐剧如何在融合与交流中 ...

Core Viewpoint - The 8th Shanghai International Musical Festival has commenced, featuring both original Chinese musicals and classic foreign productions, highlighting the growing popularity and diversity of musical theater in Shanghai [1] Group 1: Original Chinese Musicals - The original Chinese musical "No Longer Human" has been performed over 150 times since its premiere in 2021, maintaining its popularity [1] - The award-winning Cantonese musical "Lion Boy" is adapted from the animated film of the same name [1] - "The Zhao Family Orphan," which premiered in 2021, has toured over 150 performances in more than 30 cities nationwide [1] - The new original musical "Her Sea" focuses on the lesser-known story of the Chinese pirate queen Shi Xianggu, exploring Eastern maritime aesthetics [1] Group 2: International Musical Productions - The "2026 Musical Star Series Concert" will feature nine musical stars from seven countries performing from March to May next year [1] - Notable performers include Alfie Boe from London's West End and Lea Salonga from Broadway, presenting six productions across twelve performances [1] - The classic French musical "Don Juan" will return to Shanghai Cultural Square in April, while a new production of "Cyrano de Bergerac" will have its Chinese premiere [1]

Core Viewpoint - The interview with Yang Huilin emphasizes the evolution of "Chinese Studies" into a global discourse, highlighting the importance of cross-cultural dialogue and the need for international scholars to participate in constructing a "Chinese narrative" [3][8]. Group 1: Historical Context of Chinese Studies - The Western study of China began with the translation of classical Chinese literature, which played a crucial role in shaping Western understanding of Chinese culture [4]. - Literary works serve as a direct entry point to understanding a culture, encapsulating deep cultural memories and societal values [4][5]. - Notable examples include the influence of works like "The Orphan of Zhao" and "The Good Match," which have significantly impacted Western perceptions of Chinese ethics and familial values [5]. Group 2: World Chinese Studies and Cultural Exchange - "World Chinese Studies" encompasses both historical and contemporary perspectives of Chinese scholarship within a global context, emphasizing cultural exchange and mutual learning [8]. - The dialogue between Western and Chinese scholars can reveal overlooked issues and foster new research dimensions, as seen in the works of scholars like Princeton's Martin Kern [9]. - The need for Chinese scholars to respond to Western interpretations is essential for a comprehensive understanding of Chinese culture [9]. Group 3: Language and Thought - Different linguistic expressions can uncover new logical frameworks and thought spaces, suggesting that cross-cultural understanding requires engagement with both Chinese and Western perspectives [11]. - The translation of concepts, such as the term "ren" (仁), illustrates how language shapes understanding and can lead to different interpretations across cultures [11]. Group 4: Importance of Constructing a Chinese Narrative - Constructing a "Chinese narrative" is vital for understanding contemporary global issues, as it reflects specific cultural logics and values [13]. - The essence of the "Chinese narrative" lies in its dialogic nature, which transcends singular conceptual frameworks and promotes mutual understanding among civilizations [13].

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].