Russian symbolist drama and theater in the Chinese scientific context

Cover Page

Cite item


The article is based on the material, presented by the authors at the International Scientific Conference “Russia and China: History and Prospects of Cooperation”. It summarizes the experience of studying drama and theater of Russian symbolism in modern Chinese philological science, and discusses the promise of translating and presenting these dramas on the Chinese stage. One of the authors of this article is a translator and publisher with a number of plays by Russian symbolists, so the article focuses on problems, which concern about adaptation and reception of Russian symbolist drama in the modern Chinese context. We can make the conclusion about Chinese researchers’ growing interest is not only to the phenomenon of the new drama by recent decades, but also to the artistic innovations in drama and theater at the turn of 19 and 20 centuries, where can be found the influence of traditional Chinese theatre and fine arts.

About the authors

Yu Xiang

Beijing Foreign Studies University

Author for correspondence.

doctoral student, Beijing Foreign Studies University, Faculty of Philology of Lomonosov Moscow State University

2 Xisanhuan Ave., Handyan district, Beijing, 100089, People’s Republic of China

Irina V. Monisova

Lomonosov Moscow State University


Ph.D. Candidate, Assistant Professor of Faculty of Philology, Lomonosov Moscow State University

1 Leninskie gory, bldg. 51, Moscow, 119991, Russian Federation


  1. Andreev L.N., Chukovskiy K.I., Sologub F.K. Literaturno-khudozhestvennye almanakhi izdatelstva “Shipovnik” [Literature-art almanacs of Publisher “Shipovnik”]. Book 22. Saint Petersburg: Shipovnik Publ., 1914. 290 p.
  2. Belyy A. Simvolizm kak miroponimanie [Symbolism as worldview]. Moscow: Respublika Publ., 1994. 528 p.
  3. Blok A.A. Polnoe sobranie sochineniy i pisem: v 20 t. T. 6. Dramaticheskie proizvedeniya (1906—1908) [Full collection of works and letters: in 20 vol. Vol. 6. Dramas (1906—1908)]. Moscow: Nauka Publ., 2014. 594 p.
  4. Vislova A.V. “Serebryanyy vek” kak teatr: fenomen teatralnosti v kulture rubezha XIX—XX vv. [“Silver age” as theatre: theatrical phenomenon in culture at the turn of the XIX—XX centuries]. Moscow: Rossiyskiy institut kulturologii Publ., 2000. 212 p.
  5. Xu Qi. Stanislavskiy i Meyerkhold: vzaimootrazhenie [Stanislavskiy and Meyerkhold: interrelation]. Teatr [Theatre]. 2009. No. 2. Pp. 135—143. «互为镜像、彼此映照的斯坦尼斯拉夫斯基与梅耶 荷德», 载于 «戏剧», 2009年第2期。
  6. Xu Qi. Khudozhestvennye priemy Meyerkholda dlya postroeniya stsenicheskogo prostranstva pecy “Balaganchik” [Meyerkhold’s artistic tricks for stage space building of “Balaganchik” play]. Teatr novogo veka [Theatre of new century]. 2014. No. 2. Pp. 33—37. «梅耶荷德<滑稽草台戏> 的舞台空间阐释», 载于 «新世纪剧坛», 2014年第2期。
  7. Xu Qi. Elementy vostochnogo teatra v teatralnoy teorii i praktike Meyerkholda [Elements of the oriental theater in Meyerkhold’s theater theory and practice]. Teatralnoe iskusstvo [Theatrical art]. 2015. No. 2. Pp. 106—113. «梅耶荷德戏剧理论与实践中的东方元素», 载于 «戏剧艺术», 2015年第2期。
  8. Jiang Xunlu. Neskolko voprosov o dramakh russkikh simvolistov [Some questions about dramas of Russian symbolists]. Teatr [Theatre]. 2015. No. 3. Pp. 5—14. «关于俄国象征主义戏剧的几 个问题», 载于 «戏剧», 2015年第3期。
  9. Jiang Xunlu. Funktsii i formy rituala v russkikh simvolistskikh dramakh [Functions and forms of ritual in Russian symbolist dramas]. Russkaya literatura i iskusstvo [Russian literature and art]. 2017. No. 3. Pp. 31—40. «仪式在俄国象征主义戏剧场面中的功能和形式», 载于 «俄罗斯文 艺», 2017年第3期。
  10. Szondi P. Teoria sovremennoy dramy (1880—1950) [Theory of modern drama (1880—1950)]. Beijing: Pekin university, 2006. 153 p. 彼得·斯丛狄, «现代戏剧理论 (1880—1950)», 北京: 北京大学出 版社, 2006年。

Copyright (c) 2019 Xiang Y., Monisova I.V.

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.

This website uses cookies

You consent to our cookies if you continue to use our website.

About Cookies