To be honest, there were some regrets during the performance tour. The sub-title, for instance, should be an abstract of the plot, rather than a copy of the whole text of the play script. Ideally, the sub-title should be presented some seconds ahead of the onstage performance. Otherwise, the audience will encounter a dilemma--whether to read the sub-title or watch the play.

Have you ever seen The First Emperor, an opera by composer Tan Dun and director Zhang Yimou? There were quite a lot of negative comments from the local media after its premiere at the New York Metropolis Opera House in December last year. What is your opinion of the ways Tan and Zhang have attempted to make the East and the West more compatible?

Personally, I appreciate what Mr. Zhang and Mr. Tan did in the cross-cultural area. The growing power of Chinese culture abroad is part of a rising China since the implementation of reform and opening-up policy in the 1970s. It is good to see that Chinese movies, dramas and music are gradually presented globally.

I don't think I can comment on The First Emperor, since I haven't seen it. Regarding what you said, there might have been negative comments on it. But it doesn't matter. Actually, artistic creation itself can be regarded as subjective and personalized. What's more, it's more important to note that foreigners are interested in Chinese drama elements, rather than to blame what Mr. Zhang and Mr. Tan have done. I believe that Mr. Zhang will re-examine his effort and learn something from it.

In fact, audiences in China who prefer to see original plays are paying less attention to foreign plays. Moreover, they can enjoy and appreciate world arts through various cross-cultural festivals held nationwide, such as international theatre, music, dance festivals, etc. These festivals can, indeed, educate domestic cultural professionals and broaden their horizons, and this in turn will push the development of Chinese arts further. The more cross-cultural exchanges, the better. But more space and time are still required for a better fusion of Chinese elements with traditional Western ways.

You remarked several years ago that the domestic market for drama was huge but could not live without three key factors, namely script, cast and audience. How do you feel about the current situation, on the 100th anniversary of the birth of modern Chinese drama?

The celebration of the 100th anniversary can be seen as the common memory of national culture. We are blessed to have such a wonderful experience. I'd like to realize my dream: the total number of my onstage performances this year will reach at least 100. As a drama player, it's my honor to fulfill that dream.

As for the market, classic plays that the BPAT has presented over the years, such as The Teahouse and The Thunderstorm, should be continued with. The drama market here in China remains huge. But the biggest problem so far is the lack of quality plays--the well-written script in particular. The blossoming of the drama is embodied in the blossoming of its market, which means a well-written script, the cooperative performance of the team, and the participation of the audience, are crucial.

Most dramas presented by the BPAT are classical, yet mainstream. What do you think about mini-dramas, which now seem to be more entertaining and popular with the market?

The market should be diverse, and cater for different appetites. Freedom of creativity is essential, so there is no need to be fastidious about what goes into popular culture. Instead, focusing on what you are doing is far more important. You don't need to criticize others if your performance is good enough. After all, the culture world has room for everyone.

It's good to see that in recent years there's been a boom in independent productions. We have a mini theatre that provides a platform for experimental dramas. Every member must treasure his/her opportunity to work with the BPAT since it is supported and funded by the country. The mainstream drama that we present might not get full recognition from the market, but it's no big deal. We have to believe that what we are doing is meaningful; have full confidence in ourselves and persist in pursuing something. This persistence of pursuit, in my eyes, is praiseworthy.

You have been active in charity work for several years, and have held many titles: China's AIDS prevention and publicity ambassador, blood donor ambassador, promoter of the Beijing Olympics, and so on. What is the relationship between charity work and drama acting?

They are complementary. My passion, eloquence, command of the language, and the way I communicate with the audience, all come from charity work. I get rid of anxiety in a totally alien environment in front of thousands of people, and my passion for charity is released. As a drama actor, instead of purely acting, I am capable of expressing myself and communicating with the audience when I perform on stage. Charity work and dramatic acting are inseparable and I benefit from both.

Charity work, to me, is like a stage, much bigger than the "real stages" at the BPAT or those in TV/movies. I'm so pleased to know that I'm now considered a "charity star" rather than merely a TV/movie star. Some people criticize my high profile in charity work as "putting on a show". I never deny it and it's definitely a show anyway. And I think, the bigger the better! I devote my energy, passion and time to charity work. What I do is totally nonprofit and I really wish to do it better and better. For example, as a project affiliate with the China Youth Development Foundation, I set up a charity foundation in 2002 to help children and teenagers affected by AIDS/HIV. The total funds collected are 1.7 million yuan (approximately $230,000), and 1 million yuan, or two thirds of it, has been spent so far.

As a "charity star", it is my pleasure and honor to send some positive messages by using my social influence, and it's great to help the country and see some good changes take shape in society. It's the same feeling I get from being a drama actor.

Profile of Pu Cunxin

Born in 1953 in Beijing, Pu Cunxin entered the Beijing People's Art Theatre in 1986. He has assumed deputy president of the Theatre since 2003.