In music the theory was T'ao Yuan-ming's (372-427) "Just understand the meaning in the lute / Why bother about the sound of the strings?" And on the stage the result was Chinese opera, in which "every sound is a song; every movement a dance."
於是，我們看到了陶淵明「但識琴中意，何勞弦上音」的音樂觀；看到了含蓄微妙「意到筆不到」的寫意傳統；在舞台上，我們發展出「無聲不歌、無動不舞」，表演抽象、舞台也抽象的國劇。