The cross-cultural study of Chinese and Foreign Drama Classics is to investigate how a country's drama enters the foreign cultural context or digital space after crossing the boundaries of language, country, culture and media, so as to obtain the understanding and new cross-cultural interpretation of the other culture, so as to produce the significance, influence and communication different from them in the local culture. In 1935, after Mei Lanfang visited the Soviet Union and performed successfully, he had a discussion with experts from all walks of life in the Soviet Union. Meyerhold, Eisenstein and others all appreciated the exemplary nature of Peking opera art. However, the procedural and virtual characteristics of Chinese opera were obviously different from the realistic literature and art advocated by the Soviet Union at that time, so Peking opera was interpreted as a symbolic realistic drama. This representative case fully illustrates the different interpretations and two-way influence in cross-cultural communication. Since the novel coronavirus pneumonia outbreak, the offline performances of various dramas have been greatly affected, which in turn has promoted the dissemination and viewing forms of online broadcasting and "online drama". In 2020, the National Theatre's "Tibetan Opera" was broadcast in Shanghai. The six major groups of Beijing Kunming Huyue Huaiping Pingtan group were also launched the "cloud communication" mode on the five platforms, such as jowl, watermelon video and B tiktok. Waiting for Godot (version 2.0), directed by Wang Zhen, broke the traditional relationship of drama viewing and performance by means of online Premiere (No theater, no rival actors and no audience); In 2020, the Berlin Drama Festival held an online art festival for the first time in 57 years since its establishment. Most of the plays were broadcast live online, and each work was retained for 24 hours. Artists and audiences held traditional post performance talks in the "cloud" to exchange ideas and creativity... These digital cultural phenomena spawned by the epidemic not only conveyed the exciting message that "the performance is still continuing", It has also evolved into a global phenomenon of cross-media and cross-cultural exchanges caused by the entry of Chinese and foreign dramas from physical space into virtual space. These phenomena need to be explained and understood from the perspective of cross-cultural research of drama. In recent years, the drama and literature circles have made some achievements in the cross-cultural research of Chinese and foreign drama, but the cross-cultural two-way thinking and the systematic research of drama need to be further improved. Two way thinking: the influence and acceptance of Chinese and Foreign Drama Classics The cross-cultural communication and interpretation of each classic play is a cross-cultural phenomenon, but not all cross-cultural plays deserve attention and research. What phenomena and events should be studied depends on the specific research direction: first, it points to those dramas with cross-cultural intersection and "factual connection" with foreign cultures, such as the multilingual drama literature Maitreya's meeting script unearthed in Xinjiang and reflecting the eastward spread of Sanskrit drama. Second, it points to Drama Classics. Chinese and Foreign Drama Classics themselves carry the rich reserves and cultural symbols of local drama traditions. When they collide and communicate with foreign cultures, these hidden ideas, aesthetics and values are stimulated and refracted in another symbol system and performance system, resulting in another charm and special communication effect. Third, it points to the influential "cross-cultural interpretation and communication" events, that is, those dramatic phenomena that get richer and three-dimensional cross-cultural interpretation and better reflect the law of cross-cultural communication. For example, when the National Drama Classics enter the world drama system, it is still urgent for cross-cultural researchers to reveal the key links and international communication effects of how the national characteristics win resonance in the other culture and produce a new interpretation space, so as to spread the national drama to the center of the ears and eyes of foreign audiences. Two way thinking means that the research is carried out according to two mutually complementary and cross infiltrating directions: from the outside to the middle and from the middle to the outside, and the Chinese and foreign drama and its culture are regarded as a whole and divided into two approaches. From the outside to the inside, it reflects the influence of foreign drama (especially the West) on Chinese drama since modern times, and the process of China from imitation learning to creating modern drama / drama. From the inside to the outside, it refers to the history and details of Chinese drama / Drama entering and affecting the world. These two directions seem opposite, but in fact, they are often two sides of a historical process, two sides of a coin. Driven by the two directions together, we can form the historical cognition of Chinese and foreign comparative drama from a complete perspective. The research on the two-way acceptance of drama audience is also a key link of two-way thinking. The effect of cross-cultural interpretation and communication mostly depends on the receiver. The receiver will not accept it passively. They often play a positive and creative role in the process of communication. The audience of cross-cultural drama includes not only researchers, editors, directors, actors and other professional groups, but also ordinary audiences. The two-way nature of cross-cultural drama audiences means that their acceptance of foreign drama shows the intersection, collision and blending of different cultures and drama traditions. The acceptance focus and trend of Chinese and foreign audiences are different. In the 1930s, European and American audiences were surprised that Mei Lanfang's visit to the United States and the Soviet Union brought exquisite Oriental Art. The "hypothetical" stage principle of opera inspired the realistic traditional western drama. At the same time, China's recipients are committed to introducing Ibsen and other Western realistic "social problem dramas" to enlighten the people. Bidirectional research needs to deeply explain the different needs and results of Chinese and foreign audiences. The cross-cultural study of drama also needs to construct an all-round and whole process systematic study of "translation adaptation interpretation research stage performance communication effect" according to the extension law of drama from desk to theater and the law of cross-cultural communication and communication. On the one hand, it attaches importance to drama, breaks the academic barrier from desk research to theater research, and organically combines the interdisciplinary research from script to stage. On the other hand, it attaches importance to the important links such as translation, editing, performance and transmission in the cross-cultural process, deeply studies the changes, and understands the new value and significance created by Chinese and Foreign Drama Classics in all links with the wisdom and vision of civilized mutual learning. Variation and general law: the cross-cultural nature of Chinese and Foreign Drama Classics Whether it is "cross-cultural" is the yardstick to determine the cross-cultural research object and measure its value. Those classics that have produced special cross-cultural influence in the history of Chinese and foreign drama are the key objects of drama cross-cultural research. The cross-cultural process of drama is a complex case full of subtle details: it may be a dusty translation of opera classics hidden in foreign libraries, waiting for intentional researchers to explore; It may be a multilingual theater performance with a mixture of classical and modern, Western and eastern elements, and the audience's evaluation is mixed; It may also be a group of drama enthusiasts gathered in the network virtual space, singing and performing classics in the form of new media such as short video and live video. In any case, as long as it involves the crossing of the boundaries of language, country, culture, civilization and media, and has the characteristics of cross-cultural, multinational and cross region, it can enter the drama research space from a comparative perspective. In the long history of Chinese and foreign drama, the Drama Classics with the most cultural interaction attribute and communication effect often carry the essence of their own national culture. After script translation or overseas stage performance, they have become a highlight moment in the history of cross-cultural drama, resulting in far-reaching and wide international communication effect. The translation, editing and performance of the Yuan drama "Zhao's orphan" in Europe in the 1930s and 1950s is a highlight of the international dissemination of Chinese drama. Zhao's orphan is not only a widely spread Chinese drama translated, edited and performed in Europe in the 18th century, but also opened the nearly 300 year exchange history of Chinese and Western drama. Europeans who are proud of European drama saw the appearance of Chinese drama for the first time, and also tried to experience the character stories of Chinese drama and the way of Confucius on the western stage. We don't have to criticize the deletion and translation of Zhao's orphan by the Sinologist maroser, let alone Voltaire's Misreading and his reborn adaptation of the original play in China's orphan, because complex variations are everywhere in the communication between Chinese and foreign dramas. After cross-cultural interpretation and dissemination, the drama text and stage performance must be deformed greatly or slightly due to cultural differences, It will also gain universal significance because of its insight into human nature and civilization. Among them, the differences in the same, the same in the differences, the variation in the general law and the communication in the differences are the difficulties in cross-cultural research. Therefore, to study and realize the complete process of cross-cultural drama, we need to analyze problems and details, study and judge historical facts, run through theoretical analysis, summarize general laws and variations, and draw lessons. The cross-cultural study of Chinese and foreign drama focuses on the process of influence and communication itself, that is, the variation of the two processes of the spread of Western drama to the East and the spread of Chinese drama in different times and multiple contexts, as well as the differences between the two, and then use the cross-cultural drama theory to study and judge the historical facts with great influence, Analyze the common laws and unique variations in the cross-cultural process of Chinese and foreign dramas. In addition to the numerous and complex dramatic phenomena and their details, we should also remove the fog of the phenomenon, summarize and summarize the laws and changes in the cross-cultural interpretation and dissemination of drama, open up the blocking points, and dredge the channels of drama communication between China and foreign countries. The influence of intelligent technology, new media and global communication With the development of economic globalization and intelligent technology, new technology and Digital Humanities are involved in theater art, forming an interdisciplinary and cross media undercurrent in Pioneer drama and postmodern theater experiments at home and abroad. Big data and new media are profoundly changing the way people live in the 21st century. They also bring new opportunities and challenges to the cross-cultural communication and dissemination of drama. First, at the stage level of drama, early multimedia technology flexibly switched and combined different forms such as stage, set, sound effect, light and image, which greatly enriched the audio-visual elements of the stage. The penetration of digital technology in the 21st century has had a far-reaching impact on stage art. For example, after artificial intelligence is implanted and applied in the theater, there are more possibilities for the stage creativity and expressiveness of human-computer interaction. Accordingly, the cross research of intelligent technology and theater art has become a new academic growth point. Second, at the level of viewing and performance relationship, science and technology has continuously innovated the performance means and viewing forms. The immersive theater experiment using VR (virtual reality) technology has changed the stage performance space, reversed the primary and secondary relationship between performance and viewing, and subverted the traditional theater concept. The practice upsurge of online virtual theater emerging in the Internet has pushed the interactive relationship between performance and viewing to the direction of digitization and virtualization. Online viewing has triggered discussions on core issues such as what is "drama" (the Greek root of theater means "viewing"), and how to continue the new technological experience of drama performance and the vitality of traditional theater, Chinese and Foreign Drama Classics are facing challenges. Third, at the level of resource sharing and global communication, the rapid development of network technology is conducive to the formation of big data information of Chinese and foreign dramas. For example, the Ibsen global stage database of Ibsen center in Norway has both advantages and disadvantages: global users can share resources, but the digital gap between those who make good use of network resources and those who make poor use of network resources is becoming increasingly obvious. Meanwhile hitherto unknown social media and novel coronavirus pneumonia have opened unprecedented theatrical digital spaces, partly saving the theater that shrank from the impact of the new crown pneumonia epidemic, and forming a new global route for global drama in the global network community. For example, drama lovers and opera fans gather in digital space by using new media, such as tiktok, youtube, instagram, Facebook, twitter and other overseas videos and news agencies