To discuss the history of development of Chinese opera theory since the 20th century, we often encounter such a problem: how do we view and understand the influence of western theoretical trends and ideas on creation and research of Chinese opera? And to sort out its course of development over the last century, it is not difficult to outline a complex trajectory of establishing and trying to break through the dualistic thinking styles of both China and the west：from the dramatization of movements which advocate the “global westernization” to the globalization wave that advocate the multiple integration of Chinese and western cultures. In fact，the controversy about cultural differences is a manifestation of phenomena rather than contradictory thinking. To cross the rigid pattern of duality, only when “China and the West” is no longer considered as an opposing lineage can researchers be no longer confined to the “identitybuilding” barriers, thus realizing no ChineseWestern distinction about the pluralistic development of Chinese opera theories.

Chinese opera theory； ChineseWestern controversy； binary opposition； cultural selfconfidence