Abstract
The paper aims to present the panorama of the musical theatre genres relevant for Chinese art of the Sino-Japanese War period and to identify the specificity of refraction of the European opera tradition in each of them. The scientific originality of the research lies in the fact that despite the constant attention of the researches to Chinese opera art, the development of the national opera in this period has not received enough coverage until now. The present study proposes a differential system of Chinese opera genres, determines the degree of influence of the European tradition on each of the considered genres for the first time. The emphasis is placed on the operas “Qiu Zi” and “The White-Haired Girl”, which are considered the greatest artistic works in the development of the two main directions of wartime opera. As a result, it has been proved that the variety of musical theatre genres is connected with different degrees of adaptation of European musical thinking components: from using individual elements (harmony, performance style, instrumentation) to an artistically justified combination of national and foreign traditions.
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