Abstract

This article is devoted to the consideration of a number of stage projects by Chinese directors, in which the work of the writer Anton Pavlovich Chekhov is reinterpreted. Analysis of such productions and projects as the international drama festival "Chekhov Forever" in 2004, a hybrid work based on Chekhov's story "Three Sisters" and Beckett's novel "Waiting for Godot" by Lin Zhaohua in 1998 and 2018, a double performance by Stan Lai based on the works "I take You by the Hand" by Carol Rocamora and "The Seagull" Chekhov 2014, etc. It allows us to trace innovative approaches to reading Chekhov's works in the context of the life of modern Chinese society. These works cause a great resonance not only in the professional environment, but also among the mass audience, who invariably penetrates the depth of Chekhov's images, the subtlest shades of emotional experiences; the Chinese audience finds themselves close to the problems, hopes and aspirations of the heroes, brilliantly transferred to the actual socio-cultural environment of China, always topical and recognizable. The scientific novelty of the article is connected with the fact that the nature of mastering the creativity of the Russian playwright in the theater of the East is a fairly new and at the same time promising topic for research. The conclusions and results of the study can become the basis for further studies of the specifics of the adaptation of foreign dramaturgy in the national theatrical tradition on the example of other countries and regions.