Van Chzhunsin

This article deals with the issue of cross-cultural exchange in the field of theatrical art between the West and the East in the mid-20th century on the example of the theatrical dialogue between V.E. Meyerhold and Mei Lanfang. The author analyses the influence of traditional theatrical techniques of Chinese theatre on the Russian stage culture of the Silver Age.

The article is based on a comparative analysis of key aspects in theatrical art of the 20th century: the problem of conventional theatre and symbolism, Meyerhold's biomechanics and the "four skills and five methods" used in training Chinese actors, the typology of roles and the formation of the artistic image, pre-game techniques and other theatrical techniques that became part of the dramatic dialogue between W.E. Meyerhold and Mei Lanfang. These two personalities embodied two traditions; the starting point of their intercultural dialogue was Lanfang's visit to the USSR.

This article focuses on the processuality and incompleteness of this intercultural dialogue, on the interpenetration and co-action of key ideas of Eastern and Western theatrical traditions, embodied in the transformation and formation of Meyerhold's creative genius.

The article is based on the comparison of stage images created Russian and Soviet actress O.L. Knipper-Chekhov in the play "The Cherry Orchard" and the Chinese actor Mei Lanfang in the play "A Dream in the Garden". The article explores the principles of creating a female image in the Russian and Chinese stage tradition of the mid-20th century, as well as the peculiarities of theatrical and stage culture of China and the USSR of this period. The study reveals the differences in the ways the actors approach to their roles and create images according to the Russian and Chinese stage traditions. Knipper-Chekhov's principle of a 'Secret marriage to an image' and Mei Lanfang's method of 'Moving without changing shape' reflect different aspirations for 'reality' and 'beauty'. This comparative study is based on the creative potential of theatrical art images of the mid-20th century. The article focuses on the way the theatrical directions represented by the two actors understand the universal issues of theatrical art differently, as well as the way the intersection of the key principles of Russian and Chinese (more broadly, Eastern and Western) theatrical traditions leads to mutual penetration and resonance.