International Communication Studies in Literature and Art
ICSLA, Vol. 2, No. 1, 2026, pp.56-64.
Print ISSN: 3079-2711; Online ISSN: 3104-5081
Journal homepage: https://www.icslajournal.com
DOI: https://doi.org/10.64058/icsla260106pcttt
李春凤（Li Chunfeng），张连桥（Zhang Lianqiao）
摘要：新世纪以来，中国剧团亮相阿维尼翁戏剧节、爱丁堡国际艺术节、柏林戏剧节等三大戏剧节的历程，是中国文化从表层的符号展示迈向深度对话的重要实践。针对现有研究中存在“重个案轻整体、重描述轻评述、重单向影响轻双向互动”的局限，本文采用文献研究法和案例分析法，选取《王子复仇记》《水生》等代表性剧目，系统剖析中国戏剧国际化三个阶段的演进轨迹，探究其内外驱动因素，并进一步阐释这一演变轨迹所产生的双向文化互鉴。研究发现，中国戏剧经历了文化符号的展示期、当代语汇的探索期和主流体系的对话期三个阶段，这一过程是由创作主体的文化自觉、国家文化政策的支持与国际戏剧对文化多样化的需求共同推动，既拓展了国际戏剧美学边界，又重塑了中国本土戏剧创作生态，为中国戏剧的国际化发展提供了有利的借鉴。
关键词：中国戏剧；三大戏剧节；跨文化交流；文化影响
作者简介：李春凤,广州大学人文学院硕士研究生，研究方向：学科教学（语文），电邮：1503745097@qq.com。张连桥（通讯作者），广州大学人文学院教授，研究方向：欧美文学与文学伦理学批评、期刊评价、教育评价研究，电邮：zhanglianqiao@gzhu.edu.cn。
Title: The Performances of Chinese Theater Troupes at the Three Major Theater Festivals Since the New Century and Their New Impacts
Abstract: Since the new century, the process of Chinese theater troupes participating in the three major theater festivals-Avignon Festival, Edinburgh International Festival, and Berlin Festival - represents an important practice for Chinese culture to move from superficial symbol display to in-depth dialogue. In response to the limitations in existing research, such as “overemphasizing individual cases while neglecting the overall picture, overemphasizing description while neglecting commentary, and overemphasizing one-way influence while neglecting two-way interaction”, this paper adopts the methods of literature research and case analysis. It selects representative works such as Hamlet and Waterborne to systematically analyze the evolution of the three stages of Chinese theater’s internationalization, explore the internal and external driving forces, and further explain the two-way cultural exchange resulting from this evolution. The research finds that Chinese theater has gone through three stages: the display period of cultural symbols, the exploration period of contemporary vocabulary, and the dialogue period within the mainstream system. This process has been jointly driven by the cultural awareness of the creative subjects, the support of national cultural policies, and the demand for cultural diversity in international theater. It has not only expanded the boundaries of international theater aesthetics but also reshaped the creative ecosystem of Chinese local theater, providing valuable references for the international development of Chinese theater.
Keywords: Chinese drama; Three major drama festivals; Cross-cultural communication; Cultural influence
Author Biographies: Li Chunfeng, Master’ student, School of Humanities, Guangzhou University. Research interests: Subject Teaching (Chinese). E-mail: 1503745097@qq.com. Zhang Lianqiao (Corresponding Author), Professor, School of Humanities, Guangzhou University. Research interests: European and American Literature, Literary Ethics Criticism, Journal Evaluation, Educational Evaluation Research. E-mail: zhanglianqiao@gzhu.edu.cn.
Received: 30 Mar 2026 / Revised: 27 Apr 2026 / Accepted: 28 Apr 2026 / Published online: 30 Apr 2026 / Print published: 30 May 2026.
