Cross cultural drama has a long history as a practice, but its theoretical concepts and research fields mainly emerged in the 1970s. Core practices include the appropriation of theatrical concepts, forms, and scripts, personnel mobility, communication, and collaboration, the blending of cultural elements, and the representation of cross-cultural realities. With the increase of practice and the evolution of critical concepts, the theoretical connotation of cross-cultural drama continues to expand, and research paradigms continue to change. Macroscopically speaking, cross-cultural drama refers to the encounter of different cultures in drama, and research focuses on their ways of encounter and specific cultural content. The cross-cultural perspective has permeated every aspect of the interdisciplinary field of drama, whether it is related to the dimensions of literature, history, stage practice, actor training, or exploring issues such as anthropology, sociology, political science, and cultural studies from an external perspective.

conclusion

The connotation and research content of cross-cultural drama have changed with the times and academic participation, involving semiotics, post structuralism, postcolonial theory, and so on. Cross cultural drama is complex and contradictory, and requires reflection on its original intention as a means of finding commonalities and establishing empathy. In an era that emphasizes differences and identity politics, the political effects of cross-cultural drama are easily avoided. The first wave of cross-cultural playwrights were denied due to their hegemonic color. We should go beyond cultural and political criticism and focus on aesthetic innovation and creation. Lancier believed that aesthetic behavior can create new modes of perception and political subjectivity. Critically inheriting the legacy of the previous two waves and focusing on the spillover of aesthetics on experience is a question that current researchers are contemplating. Fisher Richter proposed the concept of "transcending postcolonialism" and emphasized the essential aesthetic activity of drama. Cross cultural drama research requires the participation of scholars from third world countries, and Chinese scholars can integrate different research methods to demonstrate research potential. Integrating cross-cultural approaches into drama research is the mission of the new generation of scholars.