Theoretical Heritage of Zhao Taimou and the "National Theater Movement" in China: Origins, Concept, and Modern Significance

The subject of the research is the theoretical legacy of Zhao Taimou () – one of the key figures in the Chinese "national theatrical movement" () of the 1920s. The article analyzes the concept of "conditionally stylized system" () introduced by him in 1926, examines its aesthetic foundations (symbolism, conventionality, distinction from Western realism), and its role in justifying the uniqueness of Chinese traditional opera. Special attention is given to the comparative analysis of Zhao Taimou's ideas with the European national theater, exemplified by the Irish Abbey Theatre (Dublin, 1904), as well as his strategy of synthesizing Eastern traditions and Western innovations. Additionally, the influence of Zhao Taimou's concept on contemporary theatrical practices is traced, particularly on the work of director Huang Ying () and his production "Journey to the West." The methodological foundation includes historical-cultural analysis, comparative hermeneutics of theatrical theories (comparing Chinese and Irish national theaters), and semiotic analysis of the key term "." The scientific novelty lies in the fact that, for the first time in Russian sinology, Zhao Taimou's ideas are examined not only as a historical fact but also as a relevant theoretical framework for contemporary discussions about theater. From a semiotic perspective, it is shown that his concept of "conditionally stylized system" reveals the conventional nature of signs in Chinese opera, anticipating the semiotic turn in theater studies. The cultural-semiotic analysis of director Huang Ying's practice demonstrates that he consciously operates with traditional signs (slowing down, isolation, recontextualization) – what Zhao Taimou referred to as "revitalizing" tradition a hundred years ago. Conclusions: Zhao Taimou created a model of national theater that combines ethnocultural identity with openness to global dialogue; his critique of both conservative and radically Westernized approaches remains relevant for post-colonial cultures and contemporary searches for a "new national theater" in China.