Russian and Chinese Theater: From the Culture of Politics to a Dialogue of Cultures

2018 ◽  
Vol 46 (001) ◽  
pp. 130-142
Author(s):  
Erika OSIPOVA
Keyword(s):  
Chinese Theater

THE DANCE IN THE CHINESE THEATER

1958 ◽  
Vol 16 (4) ◽  
pp. 437-452
Author(s):  
SOPHIA DELZA
Keyword(s):  
Chinese Theater

Chinese Theater: From Its Origins to the Present Day

1984 ◽  
Vol 58 (3) ◽  
pp. 471
Author(s):  
Howard Goldblatt ◽  
Colin Mackerras
Keyword(s):  
Chinese Theater

Chinese Theater: From Its Origins to the Present Day

1985 ◽  
Vol 2 (1) ◽  
pp. 80
Author(s):  
J. I. Crump ◽  
Colin Mackerras
Keyword(s):  
Chinese Theater

Chinese Theater, 1100-1450: A Source Book

1986 ◽  
Vol 3 (1) ◽  
pp. 142
Author(s):  
Dale R. Johnson ◽  
Wilt Idema ◽  
Stephen H. West
Keyword(s):  
Source Book ◽  
Chinese Theater

The Classic Chinese Theater

1956 ◽  
Vol 15 (2) ◽  
pp. 181
Author(s):  
Sophia Delza
Keyword(s):  
Chinese Theater

The Dance in the Chinese Theater

1958 ◽  
Vol 16 (4) ◽  
pp. 437 ◽  
Author(s):  
Sophia Delza
Keyword(s):  
Chinese Theater

scholarly journals Svetlana A. Serova on Life, Science and Chinese Traditional Theater

2020 ◽  
pp. 186-197
Author(s):  
T. B. Budaeva ◽  
Keyword(s):  
Life Science ◽  
Scientific Work ◽  
Research Area ◽  
Common Interest ◽  
Independent Research ◽  
Short List ◽  
Musical Drama ◽  
Holistic View ◽  
The Common ◽  
Chinese Theater

The names of specialists in Russian Sinology associated with independent research area are rare. This short list includes Svetlana A. Serova, a sinologist, theater historian, and theater expert, who devoted her academic endeavor to Chinese traditional theater. Deep historical roots of the Chinese theater, specifics in the simultaneous coexistence of dozens of its regional varieties, completely different from Western aesthetic views, stage embodiment and perceptions of this theatrical art — these are just some of the common features inherent in the genre of traditional theater. In Svetlana A. Serova’s seven monographs Chinese theater consistently appeared in its most diverse forms. Among them are genres of Beijing musical drama Jingju and Kunshan drama Kunqu (both became popular nationwide), acting skills and stage art, creative views of playwrights who influenced the development of Chinese theater as a whole, historical retrospectives up to the ancient ritual origins of the theater, parallels with Western theater, etc. It is obvious, that even the most objective and impartial scientific work is the result of not only professionalism, but also the personality of the scientist, his worldview. But when we deal with such a subtle and ephemeral matter as art, the author involuntarily steps at the avant scène, being forced to pass all the material through himself. Therefore, our interest in a researcher of such magnitude as Svetlana A. Serova is dictated not by a common interest, but rather by a need to understand her life values, providing additional opportunity to obtain more holistic view of her heritage.

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