Abstract: The article is devoted to the problem of reception of Chekhov's dramaturgy in the modern Chinese theater. The subject of the study is the stage reception of Chekhov's plays in China in the XX and XXI centuries. The purpose of this work is a systematic analysis of the features of Chekhov's dramaturgy in the Chinese theater in different periods. The main methods are descriptive, analytical and comparative methods. Chekhov's plays were introduced to China more than a hundred years ago, and most of his dramatic works were staged in a modern Chinese theater. In various performances based on Chekhov's plays, Chinese playwrights-directors such as Yang Shen, Lai Shengchuan, Li Liuyi, Lin Zhaohua, etc., show us their unique interpretation of Chekhov's drama in many areas.   Many studies consider the problem of the influence of Chekhov's dramaturgy on the work of Chinese writers, and the problem of stage interpretation of Chekhov's plays in China has been little studied. The scientific novelty of this work lies in the fact that it provides for the first time a relatively holistic analysis of the stage reception of Chekhov's dramatic works in China in the XX and XXI centuries. Modern Chinese theatrical figures carefully treat the text of the originals of Chekhov's plays, while offering new interpretations of his dramaturgy. Russian Russian stage interpretation and Chekhov's reception in China have already become one interpretive code for the study of Russian drama in modern Chinese theater and modern Russian-Chinese literary relations.

Abstract: Recently, there has been an increase in the interest of scientists in studying foreign translations of Chekhov's dramatic works. There are quite a lot of comparative studies of various Chinese translations of Chekhov's plays in a certain period, but the problem of systematic periodization of Chinese translations of Chekhov's plays has been little studied. The article is devoted to understanding the history of the Chinese translation of Chekhov's plays in the XX and XXI centuries. The subject of the study is various Chinese translations of Chekhov's dramatic works. The purpose of this work is a systematic analysis of the features and causes of the development of the Chinese translation of Chekhov's drama in different periods. Descriptive, analytical and comparative methods are used in the course of the study. For the first time, the work provides a relatively holistic overview of the history of reception and translation of Chekhov's drama in China since the XXI century. In a comparative study of Chinese translations of Chekhov's dramatic works, it is necessary to pay attention to the perception of foreign culture by different translators. We divide the complex history of reception and translation of Chekhov's drama in Chinese culture of the XX - XXI centuries into five stages. With the change of time and the development of theory and the level of translation, the artistic charm of Chekhov's drama is revealed even more. Chekhov's transformation from a typical realist writer into a recognized pioneer of modern drama of the XX century also confirms the complexity, ambiguity and advancement of Chekhov's work. We also need to look at the translations of Chekhov's dramaturgy from an intercultural point of view, timely consider the latest achievements of research in the field of translation of Chekhov's dramaturgy at home and abroad and look for ways of mutual comparison between different cultures in comparing translations.

Abstract: This article is devoted to one of the aspects of the history of interaction between Russian and Chinese literature of the XXI century. This article examines the Chekhov tradition in the dramatic work of the modern Chinese playwright Lai Shengchuan. The subject of the study is the reflection of the Chekhov tradition in the plays of Lai Shengchuan (1954-). The main methods are descriptive, analytical and comparative methods. Many studies consider Chekhov's traditions in the works of Chinese writers of the mid-20th century, such as Lu Xin, Cao Yu, Ba Jin, and Chekhov's influence on the work of Chinese writers of the end of the 20th century and of the 21st century has been poorly studied. The scientific novelty of this work lies in the fact that it provides for the first time a systematic analysis of Chekhov's influence on the literature creation of Lai Shengchuan. Chekhov's tradition in the literature of Lai Shengchuan's is mainly reflected in three aspects - static dramatic artistic characteristics, expressions of the philosophy, as well as the unique concept of comedy. Lai Shengchuan considers Chekhov as his intimate friend and consciously uses Chekhov's dramatic concept and method of creating drama in his work, which is an effective proof of Chekhov's continuous influence on Chinese modern literature, reflects not only a kind of strong protection of the traditional classics of Chinese modern playwrights against the trend of commercial entertainment in current literature, but also their appeal and expectation for the development of a dramaturgical innovative spirit.