Класика світової драматургії на китайській сцені XX ст.
The Classics of the World Drama on the Chinese Stage in the XX Century

Summary/Abstract: Purpose of Article. The purpose of the work is to find the generalizing features and trends of the appeal of the Chinese drama (spoken) theatre to the works of classics of the world drama - W. Shakespeare, H. Ibsen, A. Chekhov in the status of objects of artistic reception, as well as to find their alterations in the concrete and historical context of cultural life and society. To generalize the reasons for expanding the circle of authors of world literature and outstanding playwrights for a more reliable and full coverage of the influence on Chinese drama and "spoken" theatre. Methodology. The methodology of research, first of all, lies in applying comparative and historical-logical methods. The given methodological approach allows us to disclose and analyze the certain patterns of applying ideas and images of Russian and Western literature about the ideological models of Chinese society in specific historical conditions; these models being close to the relevant plot motives and ideological sources of a certain period. Scientific Novelty of the work is to expand the notion of the influence of classical world drama on the repertoire and the means of interpreting the plays by the new theatrical troupes of China. In particular, the differences between the "spoken" theatre and the "Beijing Opera," as well as the ways of the formation of the national theatre, considering the influence European dramaturgy - from Shakespeare to Chekhov. Conclusions. It is important for perception problems of a translated text of the work of art in a different cultural environment, that receptive aesthetics accentuates the question of historicism and social principles of this interpretation - in literature and drama, and in the theatrical culture in general. It is proved that in the mentioned period of time there was a transition in Chinese drama from the legends of xi qu theatre to the real life of a man. That is, Chinese playwrights have learned from the classics to create true, viable models of plays, to combine drama and lyricism together, to create new types of characters, a special genre of "lyrico-psychological drama." At the beginning of the XX century, the educated youth refused to adopt the norms of behavior determined by Confucian ethics; the adherence to well-doing, the external standards of decency and the family farm management were gradually becoming obsolete. This circumstance can be vividly illustrated by the reaction caused by the play "A Doll's House" by Henrik Ibsen when the female movement in China began to be called "Noraism" after Nora - the protagonist of this play.

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