This book investigates the formation and evolution of modern Chinese spoken drama (huaju) between the 1910s and 1940s, challenging conventional understandings of its Western influences. Man He examines the visual, acoustic, and performative aspects of theatre beyond the script, expanding the concept of the 'backstage' to include the social networks of theatre practitioners, academic institutions, and government bodies. The study argues that early huaju was a creative synthesis of Chinese and Western aesthetics, rather than a mere imitation of Western realism. It traces huaju's development from American colleges to China's urban and rural areas, positioning it at the center of discussions on transnational modernities and world theatre.

The book positions modern Chinese theatre at the center of discussions on transnational modernities and world theatres, suggesting a re-evaluation of modernist narratives. Its detailed examination of visuality, acoustics, and performance beyond the script offers a nuanced perspective on the development of huaju. The study's exploration of the 'backstage' as a constructed social network highlights the collective work of diverse cultural agents. By tracing huaju's evolution across different regions, the work challenges simplistic notions of Western influence and asserts the creative synthesis of Chinese and Western aesthetics.