“Cross Cultural”adaptation in theater refers to taking famous Western plays as the base, and adapting them into the form of traditional Chinese theater. The impact that cross cultural adaptation has on theater is, first of all, the change of theme. It not only changes the original storylines but also proposes new values and philosophical outlook, as revealed in the Chinese theater version with different interpretation and practice. This article targets Puccini's opera Turandot, together with Wei Minglun´s Sichuan Opera Zhongguo gongzhu dulanduo (Chinese Princess Turandot), analyzing and discussing the cross cultural adaptation applied here. My discussion is divided into four parts: 1) historical retrospect of the adaptation of Turandot: from the Persian and Arabian fairy tale “Chinese Princess” to Turandot, its eighteenth century version to its early twentieth century version; 2) Puccini´s opera Turandot: Puccini's original characterization and the emphases in the Chinese adaptation, including the Chinese music and stage ornaments, classic programs, sub-scene analysis and Zhang Yimou´s opera Tulanduo (The Forbidden City Edition); 3) principles of adaptation in Wei Minglun´s Sichuan Opera Zhongguo gongzhu dulanduo: exploring his remolding of characters and the characteristics in vocal tunes, “stream of consciousness,” stage application of “personification” and sub-scene arrangements, further examining the transplantation and performance from the Sichuan Opera Turandot to the Taiwan Henan Opera Turandot; 4) comparing the Puccini opera with the Wei Sichuan Opera: analyzing how the soul of opera is its “song” with “drama＂ being its carrier whereas the Chinese local theater, “drama comes first and melody comes later.”