A. Arbuzov's play "My Poor Marat" on the modern Chinese stage: the problem of reception

The author examines in detail the reception of Arbuzov's play "My Poor Marat" on the Chinese stage since 2000, analyzes the opinions of critics and audience reactions, as well as other types of responses to this dramatic text in modern Chinese culture. The problem of perception of the Russian dramaturgy of the twentieth century in China is raised on the material of the modern Chinese artistic and critical reception of Alexey Arbuzov's play "My Poor Marat" (1964). The work of Alexey Arbuzov, one of the most sought-after Soviet playwrights on the world stage, is the main subject of research. The play of this playwright "My Poor Marat" has been repeatedly staged in Chinese theaters, and in 2021 it again proved to be in demand by theatrical figures and the audience, which indicates the relevance of this study. The scientific novelty of the research consists in the fact that the work has studied the most popular performances of "My Poor Marat" in China since 2000, as well as an art exhibition based on the play. The practical significance of the results obtained is that their analysis reflects the dynamics of the development of Chinese society, changes in mentality, dominant themes of the time, dialogue with other cultures and various aesthetic systems, the specifics of theatrical life and the theatrical market in the country. The conclusion is made that the stage reception of Russian drama in China is closely connected with the socio-political aspect of the country's life and national mentality, affects the official ideology and individual consciousness, reflects the dialogue of foreign cultural factors and traditional forms of national culture.

Arbuzov, My Poor Marat, Reception, Staging, Drama in China, Dialogue of cultures, Dialogue of the arts, Reception aesthetics, Survivor syndrome, Anachronism