early 20th century，Modern Chinese Drama has gradually formed and developed in the process of improving old dramas and learning Western drama。As an important part of Chinese literature，Foreign translation and overseas communication of modern Chinese drama will inevitably promote Chinese culture to the world。The first encounter between Chinese modern drama and Russian readers took place in the 1930s。1937，Soviet scholar Rudman published a article "Chinese Modern Drama and Drama" in "Drama" magazine，Briefly introduced the development status of Chinese modern drama in the 1920s and 1930s，To Wang Duding、Ouyang Yuqian、Guo Moruo、Guo Moruo、Tian Han、Hong Shen and its main dramas were discussed。For more than ten years since then，Chinese modern drama writers and their works occasionally appear in related monographs、Newspapers，until the 1950s，Chinese modern drama began to really enter the Soviet Union，Gradually familiar with Russian readers。

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1949，Sinologist Fedrin began to translate Guo Moruo's historical drama "Qu Yuan" and released in Moscow in 1951。1953，Moscow National Literature and Art Publishing House published "Guo Moruo Selection"，Including the poems they created、Short stories、Drama and articles, etc.，"The Flower of Tang" and "Qu Yuan" is included。1954，"Qu Yuan" successfully moved to the Soviet drama stage，Performs at the Yoscow's Yorolova Theater，Director is Cimis Lajevsky。The play has aroused great attention from Soviet audiences and widely praised from all walks of life，Among them, a drama review of "Star Fire" magazine wrote: The drama "Qu Yuan" guided by Komsargusky deeply reproduces the characteristics of the times、Language and author's style，Extremely vividly tells the great poet of Qu Yuan、​​thinker、The image of the fighter。

bet365 Play online games 1958，Guo Moruo was selected as a foreign academician of the Soviet Academy of Sciences，The "Selection of Guo Moruo" in the three volumes is published in Moscow。The second volume of this book mainly includes the Russian translation of Guo Moruo's play，Including "Zhuo Wenjun", "Wang Zhaojun", "The Flowers of Tang", "Qu Yuan", "Tiger Faculty", "Gao Jianli"。Except the translator of "Qu Yuan" is Fedrin，The other drama translators are Peter Rove。1961，"Contemporary Drama" (series 21) published by Moscow Art Publishing House contains the Russian translation of "Cai Wenji"，The translator is Groba。1990，Moscow's "Literature and Art" Publishing House once again launched "Guo Moruo Selection"，Included "The Flower of Tang", "Tiger Flowers" translated by Peter Roche and "Qu Yuan" translated by Fedrin。

　　The translation and dissemination of Tian Han drama

　1940，The Soviet Academy of Sciences published "China: History、Economy、Culture、Fight for the independent heroic struggle of the nation "，One of the editors Peter Rover pointed out，Drama writer Tian Han "Early creative characteristics with extreme individualism，Later, pay attention to social issues and become the first organizer of China's revolutionary drama "。1959，Moscow Art Publishing House issued "Guan Hanqing" Russian translation，The translator is Fishman。The 1960s，"Foreign Literature" magazine and the Journal of Literature appeared in Tianhan's information。1962，Sorojin evaluated Tian Han's drama creation in his "Introduction to Chinese Literature": The true enthusiasm of the writer's true creative enthusiasm and its shaped image brought about it with Chinese social progressive people. success。

The 1970s，"Asian and African People's" and "Far East Literature Theory" and other journals have published specialized academic evaluation articles about Tian Han。1973，Nicolis Kia wrote on the 75th anniversary of Tian Han's birthday, "The National Tradition and Modernity of the History Drama" Guan Hanqing "in Tianhan" bet365 Play online games to show mourning，The author believes that the play "the combination of historical truth and artistic ideas"。1980，Nicolis Kaya Publishing Monastery "Tian Han and Twenty Century Chinese Drama"，For the first comprehensive and systematically, the life of Tianhan、The relationship between the creative road and the relationship between Tian Han and the modern drama is made in detail and introduced。1993，Agemumomodova's "Image in the Background of the Century" publishing，The author emphasizes Tian Han's nationalization exploration、Reward foreign drama has a unique position。Except the Russian translation and targeted research of "Guan Hanqing" and "Xie Yaohuan"，He also paid some attention to other works of Tian Han's works in Russia and Russian sinologists，Such as "Cafe One Night", "Night of Tigers", "The Death of Famous", "Chaos", "Yangtze River Storm", "Seven Women in the Storm", "The Song of the Spring", "Autumn Sound", "Beauty Wing" Drama such as Princess Wencheng。

　The translation and communication of Cao Yu's drama

From 1950，Cao Yu opera works in the Soviet Union、Eastern European socialist countries extensively performed。Different from the famous drama "Big Thunderstorm" with Ostrovsky，Cao Yu's "Thunderstorm" is often translated as "Storm", "Typhoon", etc.，This script brings a large reputation to Chinese drama works。1956，"Contemporary Chinese Drama" published by Moscow Art Publishing House for the first time launched the Russian translation of "Thunderstorm"，The translator is Clevezov and Sijinov。1958，"Chinese Modern Drama" published by the Soviet Union includes Cao Yu Drama，Editor believes that Cao Yu opera works with powerful、Unique artistic means showing the idea of ​​the people must win。In the same year，Nicolis Kia published the paper "Drama Cao Yu" believes，Cao Yu inherited the tradition of the drama creation of Chekhov to a certain extent，The language of the drama characters is clearly personalized，Use natural scenes on the stage of the drama，"Sunrise" Bet365 lotto review more deeply criticized the social system at that time than "Thunderstorm"。1960，"Cao Yu Drama" Russian version of the Russian version，It contains "Thunderstorm" (translated by Clevezov and Sprintonov)、"Sunrise" (translated by Wahikov and Ferkakistov)、"Beijinger" (Translator's unknown)、"Bright Sky" (translated by Nicolis Kaya)，Russian readers learned about the history and art of Chinese drama through the performance of Cao Yu's drama。Petrov's long academic papers "On Cao Yu's Creation" income this drama episode，Author comprehensive、systematically discusses Cao Yu’s creative road，A brief discussion on the ideological and artistic achievements of Cao Yu's masterpieces。2080s，Soviet sinologists have a new result of Cao Yu's research，Published Nicolis Kia's book "Cao Yu · Creation Overview" (1984)。

2011，Beijing Renyi performed the drama "Thunderstorm"，I received a good effect。Voru Donch thinks，Cao Yu under the influence of the realist literary thought of Western Europe and on the basis of inheriting the tradition of Chinese literature，Created a new form of drama- "Poetic Drama"。

Translation and spread of Lao She's drama

After the founding of New China，Lao She gradually entered the visual field of Soviet readers。1954，Moscow Art Publishing House released the masterpiece "Dragon Furutou" translated by Jishikov，In the same year, "Dragon Furutan" appeared again in "Star Fire" magazine。Ovchonikov in an article named "Beijing's Drama Life"，I introduced in detail to Soviet readers，Among them, "Dragon Sutra"。1956，Moscow National Literary and Art Publishing House published "Lao She Novel、Drama、Selection of Prose，Including two drama scripts, "Dragon Furitic" and "Fang Pearl"，The translator is Jikov。Fedrin highly evaluated "Dragon Furutou" in the preface of the book，I believe that Lao She borrowed a novel -style plot settings，Every character in the play is full of dramatic and tragedy。1957，Moscow National Literary and Art Publishing House released bet365 best casino games two volumes of "Old House Collection"，Volume 2 contains "Dragon Solut" (translated by Jishikov)、"Fang Pearl" (translated by Hadongzefsky)、"Spring Hua Qiu Shi" (translated by Irinna)、"West Hope Changan" (translated by Rizijiestvasa) four dramas。In the same year，"Foreign Literature" magazine published a Russian translation of the old house drama "Tea House"，The translator is Roland Jestvus Kaya。1958，Moscow Art Publishing House published "Fang Pearl" translated by Jishikov Russian。1960，Shemannov commented on Lao She's drama in his thesis "On Lao She's Drama"。1961，Moscow Art Publishing House released Lao She's "Family Portrait"，The translator is Nicolis Kia。In the same year，"Contemporary Drama" (series 21) published by Moscow Art Publishing House includes the Russian translation of Lao She's drama "Women's Women"，The translator is Tropov and Pulut。So far，The masterpieces of the drama and script of Lao She have all the Russian translations，Among them, the "Tea House" (translated by Riger Gelester Vistecia) multiple reproire，Early income "Selection of Asian Drama Works" (1983)、"Selection of Lao She Works" (1991)、"Maocheng Ji" (2014)。1987，Aprahnova's doctoral dissertation "Last Period of Lao She Creation: 1949-1966" introduced the drama created by Lao She after the founding of New China、曲 and children's drama。The author divides Lao She's play into two categories，One type has a single plot clue，such as "Fang Pearl", "Family Portrait", etc.; Another type of structure is loose，From multiple plot clues，Such as "Dragon Solit", "Tea House", etc.。

2006，St. Petersburg World Rose Publishing House launched the "National Issues in Lao She and Chinese Literature in the 20th Century"，The author analyzes the formation of Lao She's creative characteristics from the perspective of national psychology，Think of the drama "Tea House", "Shenquan" and the novel "Zheng Hong's under" are the best works created by Lao She after the founding of New China。

　　Translation and dissemination of other playwright works

1951，He Jingzhi、Ding bet365 Play online games Yi's musical "White Hair Girl" won the Stalin Literature Award，Later, Moscow Vahetv Theater staged "White Mao Girl"，Director Glasimov。Critic Kali Jing believes that "White Mao Girl" is a realistic national musical，retains the unique form of traditional Chinese classic drama。1952，Rogif translated the script "White Mao Girl" into Russian and published。1953，The magazine of "Star" magazine was created by Wei Feng and other dramas "Liu Hulan"，The translator is Zahalov and Beado。1955，Turkin translates Xia Yan's "Test" into Russian publishing in the "Far East" magazine。1961 Moscow Art Publishing House published Xia Yan's "Under Shanghai Eaves" Russian translation，The translator is Sijanov。

1990，Moscow Rainbow Publishing House published "Chinese Contemporary Drama" (edited by Sipshnev)，"Xie Yaohuan" with Tianhan (translation of Mikhikov Festival)、Jinyun's "Dog Grandpa Nirvana"、Liu Shugang's "Interview with a Dead"、Li Wanfen "People who walk early" and Wang Peigong’s "We"，The latter three translators are Sipshnev。Editor thinks，These dramas are the best model for Chinese contemporary drama，represents the trend of innovative development in traditional inheritance。2019，St. Petersburg Tuwei VII Press released "Drama in China 20-21 Century"，Including a drama that has an important impact and widely circulated in the history of the drama development in the early hundreds of years in China for more than 100 years in China，represents the trend of innovative development in traditional inheritance、Cao Yu's "Thunderstorm" (translated by Fedrin)、Lao She's "Dragon Stele" (translated by Jishikov)、Wang Peigong's "Us" (translated by Sipshnev)、Guo Qihong’s "Kids"、Mo Yan’s "Our Jing Jing" and Xiong Zhaozheng’s "Sima Qian"，The latter three dramas are translated by Miazki Russia and released for the first time。

The translation and dissemination of modern Chinese drama in Soviet Russia mainly uses the translation and research of Soviet -Russian sinologists，Limited number Bet365 app download of communication，and mainly concentrated in Guo Moruo、Tian Han、Cao Yu、Lao She and other main playwrights，Other writers and works are rarely involved，It has caused the one -sidedness and limitations of Chinese modern drama in Soviet Russia。As a Western observation of Chinese history and a window now，Modern Chinese Drama still needs to enter the Russian world in a more positive way，Show the charm of Chinese modern drama to Russian readers and the profoundness of Chinese culture。

(Author Unit: Russian Literature and Cultural Research Center of Heilongjiang University)