Core Viewpoint - The article discusses the premiere of the co-created fantasy play "Twenty Thousand Leagues Under the Sea" in Beijing, which combines French romanticism and Chinese humor, showcasing innovative stage techniques and puppetry to bring Jules Verne's classic to life [7][11]. Group 1: Production Details - The play was directed by Christian Eck from the Comédie-Française and a Chinese performing arts team, utilizing groundbreaking black light technology and unique puppet performances to create an immersive underwater adventure [7][9]. - The production features six actors who use physical comedy and light techniques to animate sea creatures, creating a magical experience without relying on electronic elements or multimedia technology [10][11]. - The stage design and narrative techniques have been modernized and localized, introducing new characters and comedic elements that resonate with Chinese audiences [11][12]. Group 2: Artistic Collaboration - Christian Eck has extensive experience in theater and puppetry, having worked in various prestigious theaters and puppetry companies, which informs his innovative approach to this production [9]. - The collaboration with Chinese artists has led to a richer character development and unique personality traits for marine creatures, enhancing the storytelling [12]. - The production involved local puppet-making companies in China, allowing for tailored designs and adjustments to meet the creative vision [11].

Core Viewpoint - The adaptation of Jules Verne's "Twenty Thousand Leagues Under the Sea" into a co-created Chinese-French theatrical production aims to resonate with local audiences while preserving the essence of the original work [2][3][4]. Group 1: Historical Context - "Twenty Thousand Leagues Under the Sea" was serialized in France from 1869 to 1870 and was translated into Chinese in 1902 [3]. - The French fantasy play premiered in 2015 at the Comédie-Française and has been performed for nearly a decade [3]. - The co-created version is set to tour in China in 2025 [3]. Group 2: Theatrical Innovation - The production utilizes a black box theater approach, where darkness serves as a canvas and light as a brush, allowing for imaginative interpretations of the underwater world [3]. - Actors perform both human roles and manipulate puppets while dressed in special black garments, enhancing the visual experience [3][4]. Group 3: Localization Strategies - Language localization involves not just translation but cultural reinterpretation, as seen in the adaptation of a sailor's song to reflect Chinese poetic themes [4]. - Visual localization includes redesigning costumes to blend international stage aesthetics with Chinese cultural details [4]. - Emotional localization aims to reshape characters to resonate with Chinese cultural contexts, incorporating local idioms and characteristics [4][5].