Lectures in Moscow explored the dialogue between Chinese theatre and Stanislavsky’s system. Scholars noted differences between Chinese opera and Russian methods, but also highlighted creative influences and cultural exchange. Chekhov’s plays remain popular in China, adapted to fit modern contexts.
As part of the project “Stanislavsky and Modern Chinese Theatre”, the Russian Institute of Theatre Arts (GITIS) hosted lectures by Chinese theatre scholars. Professor Chen Tian from Nanjing University highlighted differences between traditional Chinese opera and Stanislavsky’s system, noting that while opera relies on stylised external forms, outstanding actors often use psychological techniques to add authenticity. She also recalled Mei Lanfang’s 1935 visit to the Soviet Union as a key moment of cross-cultural exchange.
Chen Tian stressed that Chinese spoken drama has been deeply influenced by Stanislavsky since the 1950s, forming the basis of theatre training in the country. She argued that misinterpretations in past exchanges were not necessarily negative, as they often generated creative insights.
Professor Peng Tao from the Central Academy of Drama discussed the popularity of Chekhov in China, explaining that directors seek new interpretations relevant to the contemporary Chinese context. He emphasized the importance of strengthening students’ professional knowledge and cultural literacy, including theatre history, literature, art, and traditional Chinese culture.