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Abstract
As part of the development of modern theatrical art, there are processes of directors searching for their own methods and techniques. A similar phenomenon was typical in the 1920s, when the classical methods of staging were replaced by innovative propaganda art that required radically new approaches. Many theaters of the country actively interacted with each other during that period of time, thanks to the creative competitions and Olympiads held. The experience gained through this collaboration could become important for modern directing, which explains the relevance of the presented material. The article reveals the specifics of the interaction of the Vs theater. Meyerhold with the Chinese Theater of Working Youth, established in the 1930s in the Russian Far East. By highlighting the features of the directing of the Chinese theater group, in which the methodology of the theater is different. Meyerhold received its development, as it relied on the traditional techniques of Chinese classical theater. Thus, the aircraft system itself became the object of research. Meyerhold, and the subject of her interpretation on the stage of the Chinese Theater of Vladivostok. Using a systematic method, the author analyzes the features of creative interaction between two unique theater groups of the Soviet state. It should be noted that this analysis was undertaken for the first time, since in view of the liquidation of the Chinese Tramway and the Theater of the Armed Forces. In the late 1930s, the contacts between these collectives were forgotten. But in the author’s opinion, their analysis allows us to show possible “points of contact” between Russian and Chinese theatrical art, to reveal how the traditional features of one national theater can be embodied on the stage of another. This is the great, unifying power of art.
References
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