In terms of theatre aesthetics, experimental and avant-garde theatres are without doubt the most important dimension in the development of Chinese contemporary theatre after the Cultural Revolution. Lin Zhaohua is the only director who has kept active in experimental and avantgarde theatre creation through the 1980s, 1990s and the first ten years of the 21st century. His productions not only constantly gave rise to disputes about thoughts and theatre, but touched upon the important issues in Chinese modern and contemporary theatre, particularly rethinking of acting and directing methods, as well as modern application of xiqu(traditional Chinese theatre) aesthetics. This essay will explore and analyze Lin’s concepts and methods of acting and directing, and will probe the phenomena of Western modern and contemporary theatre that are related with Lin’s creation, such as the crisis of modern drama and postdramatic theatre. Lin’s theatre career could be divided into three phases. The first phase starts from 1982 to 1989; the second covers the whole 90s; and the third could be counted from 1995 to the present. The works in each phase show that Lin was toward a higher challenge. His theatre exploration in the 80s started with ‘how to present drama/theatre’ due to the reasons of the occurrence of new drama literature(with new contents and forms) and of his desire for seeking new expressions other than realistic style. As entering the 90s, in addition to script content, Lin was filled with the ambition to add his own content while directing. Consequently his theatre emerged new contents(including playwright’s and director’s). To response the new contents, he again faced the issue of ‘how to present drama/theatre’. The new exploration finally led him and his creation to the rumination on the question of "what is theatre".