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¿Æ¶û̩˹µÄ¼ÒÍ¥ ¸¥ÀÊË÷Íß·¿Æ¶û̩˹ ·­Ò룺ÕÔÓ¢êÍ Ð£Ò룺Äþ´ºÑÞ/ The Family of Koltès,by Fran¢“ois Koltès£¬Zhao Yinghui and Ning Chunyan trans. ¿Æ¶û̩˹Ϸ¾çÃÀѧ˼Ïë³õ̽ ¹¬±¦ÈÙ/ A Preliminary Study on the Aesthetics of Koltès’ Plays,by Gong Baorong »ûÁãÕßÆÆËé»ÄÎßµÄÐÄ ——¿Æ¶û̩˹¾ç×÷×ÛÂÛ ²ÌÐËË®/ The Broken and Barren Heart of the Marginal Man: An Overview of Koltès’ Plays,by Cai Xingshui ÈÕ³£Éú»îÕþÖÎÓë΢¹ÛÉúÃüÌåÎò ——ÅÁÌØÀï˹·Ð»ºîµ¼ÑÝÒÕÊõÖеĿƶû̩˹Ϸ¾ç Ðì·ã/ The Politics of Everyday Life and Microscopic Life Embodiment:Koltès’ Plays in Patrice Chéreau’s Directorial Art,by Xu Feng ¿Æ¶û̩˹Ϸ¾ç ——Ò»¸öÄÚÐйÛÖڵļûÖ¤Óë»ØÒä ÈÃ-Ƥ°£¶û·ÎÖ¶û×È ·­Ò룺ÕÔÓ¢êÍ Ð£Ò룺Äþ´ºÑÞ/ The Plays of Koltès:A Wellª²informed Audience’s Testimony and Recollection,by Jeanª²Pierre Wurtz,Zhao Yinghui and Ning Chunyan trans. ¿Æ¶û̩˹Ϸ¾çÓïÑÔµÄʱ¿Õ¹¹½¨ ——Îı¾½â¶Á¡¶É­ÁÖÕýÇ°Ò¹¡·¡¶Î÷°¶¡·¡¶¹Â¼ÅÔÚÃÞÌï¡· Äþ´ºÑÞ/ The Temporal and Spatial Construction of Koltès’ Dramatic Texts:An Interpretation of La Nuit juste avant les forêts, Quai ouest, and Dans la solitude des champs de coton,by Ning Chunyan ¹Â¼ÅµÄÐÄÁé ¼áÓ²µÄîø¼× Àîΰ/ The Heart in Solitude with the Hard Armour,by Li Wei ¶À°×Ï·¾çÖеÄÐðÊÂά¶È ——Âۿƶû̩˹¡¶É­ÁÖÕýÇ°Ò¹¡·µÄ¾ç×÷ÒÕÊõ ÖÓº£Çå/ The Narrative Dimension in Monologue Drama:On the Art of Playwriting in Koltès’ La Nuit juste avant les forêts,by Zhong Haiqing ¿Æ¶û̩˹Ϸ¾çµÄÐðÊÂÐÔ ÕÔÓ¢êÍ/ The Epic Aspect of Koltès’ Plays,by Zhao Yinghui ¿Æ¶û̩˹Ϸ¾çÔڵ¹ú¡¢¶íÂÞ˹ºÍÎÚ¿ËÀ¼ ¿ËÀï˹¶à·ò·¸£ÌØÀïÒ® ·­Ò룺»ÆÈôËÉ/ Koltès’ Plays in Germany, Russia and Ukraine,by Christophe Feutrier,Huang Ruosong trans. ¿Æ¶û̩˹µÄÉóÊÀÇ黳 ÂêÀö-¿ËÂåµÂ·ÓÚ±´¶û ·­Ò룺ÎâÑÇ·Æ/ Koltès’ World,by Marieª²Claude Hubert£¬Wu Yafei trans. ¿Æ¶û̩˹Ϸ¾çÔÚÖйú ÎâÑÇ·Æ/ Koltès’ Plays in China,by Wu Yafei ºóÏ·¾ç¾ç³¡±íÑÝ ——¿Æ¶û̩˹Ϸ¾çµÄ±íÑÝ´´×÷̸ ËïµÂÔª/ Postdramatic Theatre Performance: Insights into the Performance Creation of Koltès’ Plays,by Sun Deyuan ¿Æ¶û̩˹¾ç×÷¡¶Î÷°¶¡·µÄ¸Ä±à ——´ÓÏ·¾çµ½¸è¾ç ¸¥ÂåÀÊ˹·¶Å²¼ÀÙ ·­Ò룺ÕÔÓ¢êÍ Ð£Ò룺Äþ´ºÑÞ/ Adapting Quai ouest into an Opera Libretto,by Florence Doublet,Zhao Yinghui and Ning Chunyan trans. ¿Æ¶û̩˹¡¶ÂÞ±´Íз×æ¿Æ¡·Öеı¯¾çÐÔ ²ÌÑà/ On the Tragic Nature of Roberto Zucco,by Cai Yan ¿Æ¶û̩˹Ϸ¾ç·­Ò룺´ÓÀíÂÛµ½Êµ¼ù ÑÇÄÈ·ÅÁάÀö¿Ë ·­Ò룺ÕÔÓ¢êÍ Ð£Ò룺Äþ´ºÑÞ/ Translating Koltès’ Plays:From Theory to Practice,by Jana Pavli,Zhao Yinghui and Ning Chunyan trans. ¶À°×½â¹¹Îı¾ ——ÒԿƶû̩˹×÷ƷΪÀý̽ÎöÏÖ´ú¶À°×Ï·¶ÔÎı¾¿ª·ÅÐԵıí´ïÓë»Ø¹é ÍôÒ»À¼/ Deconstructing Texts by Monodrama:An Exploration of Modern Monologues’ Expression and Return to Textual Openness by Koltès’ Plays,by Wang Yilan Âۿƶû̩˹¶Ô°²ÍÐÄÏ·°¢¶ûÍеļ̳РÂí»Û/ On Koltès’ Continuation of Antonin Artaud,by Ma Hui ºó¼Ç£º“·¨¹úµ±´úÏ·¾çô߿ƶû̩˹Ϸ¾çÑо¿”¹ú¼ÊÑÐÌֻἰϵÁл¼Íʵ Ѧ½ð»Ô/ Epilogue:A Chronicle of the International Symposium on Contemporary French Theatre and Koltès’ Drama Researche,along with the Series of Events,by Xue Jinhui