CPPCC members discuss better ways of showcasing and introducing Chinese stage performances to foreign audiences, Fang Aiqing reports.

The Chinese performing arts industry is looking forward to bringing more quality work to the world, experts said during the recent two sessions.

"Since reform and opening-up began in 1978, we have exported art forms such as Peking Opera, folk music and dance. Now I believe it's time to let foreigners experience the beauty of the Chinese language — theater, for example — even if it's through subtitles," says Tian Qinxin, a member of the 14th National Committee of the Chinese People's Political Consultative Conference and president of the National Theatre of China.

"Deeply rooted in China's poetry tradition, Chinese theater is known for its romantic structures, blend of multifaceted spaces, and elegant rhetoric. We have great stories to be appreciated by foreigners," Tian says.

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She adds that international audiences can easily enjoy foreign language performances through subtitles, and that Chinese theater production teams should not view language as a barrier.

Tian is calling for more government support in building a long-term collaborative mechanism for international art exchanges and improving the training of young artists.

A theater director and playwright herself, her recent musical drama, The Summoning of Dunhuang, was inspired by the life of Chang Shuhong (1904-94), the founding director of the Dunhuang Academy, who dedicated his career to protecting and promoting the art of the Mogao Caves in Dunhuang, Gansu province.

Tian hopes the drama, which integrates artificial intelligence and auto-stereoscopic technologies (which allow users to view 3D images without wearing headgear), will be accessible to an international audience.

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Her idea resonates with Xu Zhong, a deputy to the 14th National People's Congress and president of the Shanghai Opera House, who has long been promoting the country's art to the world — specifically, the way to convey Chinese culture on the world's top stages through Chinese-language operas.

Xu particularly emphasizes the importance of borrowing from traditional Chinese culture and the integration of creative content and cutting-edge stage technology.

An upgraded version of the dance drama White Snake, for which Xu produced the music, made its debut two weeks ago. This adaptation of the Legend of the White Snake, a millennium-old household folk tale, is a dialogue between the ancient and the modern, ballet and Chinese classical dance, Western instruments and Chinese folk music.

White Snake is scheduled to premiere in July at the Lincoln Center in New York, its first overseas appearance.

Xu, a conductor and pianist, also stresses the need to enhance intellectual property protection for Chinese creations, calling for the establishment of an early warning system and a prevention mechanism for copyright infringement disputes.

He suggests that the associated departments strengthen support mechanisms to ensure the use of legal means to protect rights and minimize losses abroad.

With years of experience in cultural exchange, performing arts industry insiders are attaching greater importance to creating quality work while building cultural confidence.

Shen Tiemei, a member of the 14th CPPCC National Committee and president of the Chongqing Sichuan Opera Art Center, has been involved in Sichuan Opera for over four decades and over the course of her career, has performed in countries such as the Netherlands, the United States, Switzerland and Hungary.

After receiving positive feedback from her foreign audiences, who speak highly of the singing, costumes and stage setting of Sichuan Opera, Shen says she has gained a deeper understanding of the artistic value of the opera and Chinese culture.

She sees 300-year-old Sichuan Opera as traditional and yet contemporary in expression and now places growing emphasis on protecting traditional expressions, such as bianlian, or face-swapping techniques, which allow the audience to directly perceive shifts in the characters' inner thoughts and emotions, and dafenhuo, a technique used to reproduce fire scenes.

"We need to demonstrate the full breadth of the art to foreign audiences, rather than merely exporting single aspects," Shen says. She calls for enhanced people-to-people exchange with the global art sector.

From Jan 27 to Feb 4, conductor Li Xincao, president of the China Conservatory of Music, took his colleagues and students on a European tour to celebrate Spring Festival, bringing traditional music to Brussels, Vienna and Budapest, as well as Hamburg and Dusseldorf.

The tour followed shortly after the inclusion of Spring Festival, social practices of the Chinese people in celebration of the traditional new year, on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity in December.

Li, who is also a member of the 14th CPPCC National Committee, emphasizes that quality work — whether produced by small or large ensembles — is fundamental to promoting international cultural exchange, adding that both classical pieces and contemporary innovations are needed.

He says that classical, universal work fully respects the principles of artistic creation and the nature of the art form. "We must return to the essence of music, regardless of the theme we're creating. Music should touch hearts and souls, and inspire them."

Gu Haohao, a member of the 14th National Committee of the CPPCC and director of the Shanghai Kunqu Opera Troupe, says that in exploring new mediums, such as films and short videos, and integrating new technologies to promote traditional art, they have become more confident and determined to polish their performances.

In October, the troupe toured Paris and Bordeaux with The Peony Pavilion to celebrate the 60th anniversary of the establishment of the diplomatic relations between China and France.

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"I think foreigners are curious about traditional Chinese opera. Our troupe has gained a lot of experience, and has a long-term commitment to bringing Kunqu Opera to the world.

"Through our performances, I believe that foreign audiences will get to know more about China's culture and history, thereby gaining a better understanding of China today," she says.

Gu adds that the troupe will perform at World Expo 2025 in Osaka, Japan, in April, as well as in Tokyo schools, where they will engage in exchanges with the students.

Shi Xuefan contributed to this story.

Contact the writer at fangaiqing@chinadaily.com.cn