Adaptation of plays by A. N. Ostrovsky's later period in China

The article is dedicated to the study of the adaptation of A. N. Ostrovsky's late plays "Sin and Sorrow" (Грех да беда на кого не живет), "The Dowry" (Бесприданница), and "The Guilty Without Fault" (Без вины виноватые) in China. It examines the process of reappropriation and transformation of foreign culture in the context of Chinese drama. The main focus is on the national adaptation of Ostrovsky's plays, which reflect the historical conditions and social realities of China, especially during the War against Japanese invaders; changes in characters and plot lines are also analyzed. Observations on the reworking of A. N. Ostrovsky's plays by Chinese playwrights lead to the conclusion that within the framework of national adaptation, both radical changes to the original's core concept and mere substitutions of cultural contexts and character names are possible. The research method includes analyzing the adaptations of A. N. Ostrovsky's plays in the context of Chinese drama, comparative analysis of changes in characters and plots, as well as studying the historical and social conditions of China. The main emphasis is on the process of cultural reappropriation and the transformation of original ideas. The scientific novelty of the article lies in the comprehensive study of the adaptation of A. N. Ostrovsky's plays in China, highlighting their transformation in the context of historical and social realities, especially during the War of Resistance against Japanese invaders. Two approaches to adaptation by Chinese playwrights have been identified: radical changes in ideological content (for example, the play "Love and Hate") and superficial replacement of cultural elements (as in "The Dowry" and "The Guilty Without Fault"). Special significance is given to the analysis of how Chinese playwrights integrated patriotic and propaganda motifs into the original plots, aiding in the mobilization of society. The conclusions of the article emphasize the success of Ostrovsky's works penetrating into Chinese culture through translations and adaptations. The author notes that national adaptation not only preserved the artistic value of the originals but also gave them a new resonance that meets the demands of Chinese society.