01341nas a2200217   4500000000100000000000100001008004100002653001100043653001800054653002000072653001000092653001200102653002700114653001300141653002600154100002100180245006100201856011800262490000900380520073400389                                       d10aBeSeTo10aCREDO Theatre10aIpkoason Studio10aKunqu10aPansori10aShanghai Grand Theatre10aShenzhen10apost-pandemic theatre1 aKalina Stefanova00aThe BeSeTo Festival is Back to Splendid Life in Shenzhen  uhttps://www.scopus.com/inward/record.uri?eid=2-s2.0-85202938036&partnerID=40&md5=38f789cc6fc45d89b30a6b7525ce20d30 v20243 aThe text is an account of the renewed BeSeTo festival in its first post-pandemic edition in Shenzhen, China. It presents its main characteristics, while touching upon the history of this unique transnational theatre endeavour, initiated in 1994 as the festival of China, South Korea and Japan. The main focus is on the productions of the first festival week, some of which belong to genres listed by UNESCO as masterpieces of oral and intangible heritage – Pansori opera and Kunqu opera. Other critics’ response to them is also used as a spring-board. Interwoven in the texture of the article is an attempt at finding some common or contrasting points between the theatre in the West and that of China, South Korea and Japan.