Abstract：The drama culture exchange between China and France has a long history. Since Voltaire’s China Orphan in 1735, based on the translation of The Zhao Orphans by the Sinologist Joseph, up to now, the cultural exchange of Chinese and French drama has gone through more than 280 years. In the early 19th century, after the publication of The Circle of Chalk translated by French sinologists Stanislas Julien and Antoine Bazin, which lead to a climax of “Chinese drama fever” in France. In the era of Reform and Opening Up, Chinese drama culture opened a free and openness form of creation. In 1980, the drama Teahouse performed in France was called ‘the miracle on the Eastern stage’ by western audience. In the 21st century, under the context of a community with a shared future for mankind, the new versions of Chinese drama Teahouse and The Seventh Day were in-unit repertoire of the Avignon Theatre Festival. China’s mainstream theater outlook, with its popular nature, integrity, innovation and diversified integration, not only has a certain compatibility with the founding concept of the Avignon Theater Festival, but also actually constituted the subsequent cultural leadership. The processes of acceptance and cases of Chinese drama in France show that in order to successfully perform and effectively spread Chinese classic drama works overseas. Firstly, we should build a drama content that can reflect Chinese cultural characteristics and tell Chinese drama stories well, and then have a corresponding unique style of the world stage. Only by building up strong cultural self-confidence and enhancing the consciousness of drama culture development, can Chinese drama stories glow with the unique cultural light of our country in France and the whole world.
田嘉辉. 改革开放以来中国戏剧在法国传播的历程、理路及未来[J]. 《深圳大学学报》（人文社科版）, 2023, 40(5): 136-143.
TIAN Jia-hui. The Course, Logical Path and Future of Chinese Drama in France after the Reform and Opening Up. , 2023, 40(5): 136-143.
2023, Vol. 40 
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