The commerciality aim of Li Yu's dramatization necessarily restricted his dramatic theory and dramatization, and we can conclude from the fact that there were more techniques than inner thoughts in his dramatic theory.
Moreover, the theory that was extremely systemized also concludes all the subjects with meaning of philosophy and aesthetics in the domain of classical opera theory, and deeply influential in producing and criticizing of the Qing dynasty.
At the turn of the century, reflection of academia last century becomes a consciousness or a focus of Chinese literature studies to which this Journal has contributed. In this Issue, a group of articles dedicated to history of literature, Pianwen, Gongti poem and the theory of drama are published.
Drama theory differs from game theory in that it does not regard actors' preferences and perceived opportunities as fixed, but as capable of being changed by the actors themselves under the pressure of pre-play negotiations.
Drama theory recognises that the paradoxes of rationality might be the key to understanding certain sorts of conditions and preference changes.
Drama theory does not solve problems through conflict but seeks to resolve while recognising but seeking to avoid conflict.
In drama theory the player's objectives may adapt as the scenario unfolds as will their choices and opportunities for creating and influencing change.