Abstract
From the ‘real’ stage performance in the late 1980s to the ‘virtual’ stage performance in April 2020, when China, after months of being locked down due to the COVID-19 pandemic, was gingerly reopening for life again, Chinese theatre artists have persisted in their efforts to adapt the Beckettian play for their sociocultural, artistic and existential needs in the Beckettian spirit of ‘Try again. Fail again. Fail better’.
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