Nobel Laureate Gao Xing Jian has lately woven a drama, Snow in August, at the National Theatre in Taipei in 2002, and in 2005 at the Marseilles Opera House in France. Thus the play became a great international event. This article is divided into three parts. Chapter One is a "prelude to Snow in August": Gao Xing Jian's earlier plays as performed in Taiwan. Chapter Two comments on the Taipei production and its production team. Chapter Three looks at the Marseilles production of Snow in August. Chapter One consists of an analysis of the scenes in the play. Chapter Two looks at the creative idea in the theatrical art of Snow, particularly 1) Gao Xing Jian's reformation of the Peking Opera actor into an all-capable performer, in differentiation from the established four categories; 2) The composer's melding of Peking Opera music to European operatic rhythms, becoming atonal music; 3) The scenic designer's visual setting: "very abstract, extremely spiritual"; 4) the makeup designer's surpassing the Peking Opera's combination of colors to reach a colorless simplicity. Chapter Three presents my personal views of various innovative ideas in practice; 1) the background situational music (communicative music modes, supplementary music during the dialogue, and atmospheric music); 2) The threefold Chinese/Western combination singing; 3) Recitative and choral singing; 4) The progressive unfolding of story structure; 5) The multilayer quality of melding Chinese and Western singing. Gao Xing Jian's Chan Snow in August influentally provides new directions for 2(superscript st) Century theatre & drama. It is hoped that my humble article provides a foundation that others will build upon.