在《霸王别姬》中，程蝶衣因持续模仿与自己完全不同的人物和性格，对现实和戏剧世界之间界限认识模糊，并由此形成第二天性。

In Farewell, Concubine, Chen Dieyi continually took off completely different characters and formed a second nature as the result of his vague cognition of the ambit between reality and drama.

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因此，戏剧是人们定义和理解他们的世界或逃避不愉快的现实的一种工具。

The theater, then, is one tool whereby people define and understand their world or escape from unpleasant realities.

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我想专注于亚洲戏剧，并努力让世界关注亚洲戏剧。

I'd like to concentrate on Asian drama and try to bring Asian theatre to the world's attention.

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