Known in his country as one of the pioneers of the dramatic and literary avant-garde, the Chinese writer Gao Xingjiang becomes the subject of violent political attacks and lefts for France. Diagnosing a crisis of uniform critical thinking, Gao Xingjian appeals to a new thinking, generated from actuality, policy and commitment and freed of all “-isms”. Aiming at serving the beautiful, he launches an appeal for a new Renaissance of arts and letters, an art of human permanence reverberated in the horizon and the actuality of experience, ideas and modern sensibility.  The Nobel Prize for literature in 2000 brings him a universal popularity for his romans, plays, painting, movies, which define him as a total artiste. The polyvalent art of the artiste resized the genres and the styles in a challenging and subversive way. Thus, Gao Xinjiang realized a synthesis between his vocation to visual, his philological nature, his writing experience and as playwright and his great passion for cinema, a magical synthesis between tradition and freshness of inventiveness. In an era of total disintegration of art concept, splitting off classic paradigm, Gao Xingjang gets away from actual representation in order to emphasize the transfiguration, the modification and the collage. The concept of total art maximizes the expressive potential of the artiste, by bridging the arts. His models of creativity and spirituality stand out by his famous romans and plays, his books of literary criticism, his paintings and movie-poems and by the arguments from the books, registrations and comments dedicated to him.