title: Russian classical literature on Chinese stage: Problems of adaptation and perception
metadata.name: dc.contributor.author
metadata.value: Mylnikova, Yulia S.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2018-04-25T15:58:11Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2018-04-25T15:58:11Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2018-03
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Mylnikova Yu. S. Russian classical literature on Chinese stage: Problems of adaptation and perception. Vestnik SPbSU. Asian and African Studies, 2018, vol. 10, issue 1, pp. 4–13.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: 10.21638/11701/spbu13.2018.101
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/9462
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: Most of the state-owned theatres in the PRC implement the Stanislavsky’s system. The Stanislavsky’s
  system has flourished in China since the 1950s. It comes as no surprise because at this
  time in the USSR Stanislavsky was praised to be “the top of socialist realism”. At the beginning of
  the 1960s, five among eight volumes of the complete works of Stanislavsky were translated into
  Chinese, and in all theoretical publications in China he was called “the creator of realistic theatre”.
  A closer view to the contemporary huaju (“spoken drama”) reveals that the Stanislavsky’s
  method was perceived in China only partly. This paper will try to give a brief overview of several
  fundamental problems of perception and interpretations that contemporary Chinese theatre
  confronts, focusing on the production of Russian plays. The first problem is the lack of tradition
  or habit to examine, to investigate the “material” (epoch described in the particular play, way of
  life, attitude to religion, cultural characteristics etc.). As a result, the second problem is the challenge
  of translation. The third problem is the dominance of “international stereotypes”: the Chinese
  know how to play the Russians, know how to play the Americans; other nationalities more
  or less fit these two performing models. The forth problem is the absence of full-blooded theatrical
  critique. And the fifth problem is the necessity to workout common professional criteria.
metadata.lang: en_GB
metadata.name: dc.description.sponsorship
metadata.value: The paper was prepared with financial support of the Russian Foundation for Basic Research. Project
  № 17-21-49001а(м) («Chinese perceptions of Russia and the West during the 20th century: changes,
  continuities and contingencies»).
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: en
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Asian and African Studies;Volume 10; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: Chinese contemporary theatre
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Russian plays in China
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: the Stanislavsky’s system
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: perception and interpretation
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Russian classical literature on Chinese stage: Problems of adaptation and perception
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 01-Mylnikova.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/9462/1/01-Mylnikova.pdf
resources.format: Adobe PDF
resources.size: 700,36 kB