Read carefully the following excerpt on performance of Peking Opera blended with western classics, and then write your response in NO LESS THAN 200 words, in which you should: summarize the main message of the excerpt, and then comment on whether traditional Chinese art should integrate with western classics. You should support yourself with information from the excerpt. Marks will be awarded for content relevance, content sufficiency, organization and language quality. Failure to follow the above instructions may result in a loss of marks. Peking Opera Meets Western Classics In a desolate wasteland, sits a small mound overhung with boughs. The stage is set for a Chinese version of Waiting for Godot, a two-act absurdist play by Irish playwright Samuel Beckett that premiered in 1953. The uniqueness of the Chinese version lies in its incorporation of Peking Opera elements into the Western classic. Didi and Gogo adopt Peking Opera performances, while the other three characters use modern performing styles. This innovative revamp amazed the audience. Cui Hao, an undergraduate at Peking University who watched the performance, told that the play simultaneously took the form of Peking Opera while remaining loyal to the original plot. This time around, innovations in Waiting for Godot excited him again. The adaptation was created in 2005 by experimental actor Wu Hsing-kuo, director and playwright based in Taiwan. However, Wu's modernization of Peking Opera has sparked criticism from some. Critics say that he has tarnished the traditional Chinese art in a bid to appeal to Westerners through a clumsy fudge of Peking Opera and Western plays and doubt the sustainability of his work. Nevertheless, Wu has not given up his quest to revitalize Peking Opera. "Traditional opera can survive only by evolving with the times," said Wu, who remains dedicated to expanding theater. He added, "I want to build a bridge between the East and the West, and I wish Peking Opera could have a greater influence in the world."