Abstract
Inspired by his (mis)reading of Chinese theatre, Bertolt Brecht advanced the concept of the alienation effect as a means of making theatre a more efficient act of resistance against the capitalist social order. Brecht’s work first became known in China in 1929. Despite his affinity with Chinese culture, Brecht’s reception in China has never been a smooth process due to the interactions of diverse social, political, and cultural factors. Chinese dramatists and scholars began undertaking more rigorous, systematic, and substantial study of Brecht only after 1949. His work was seen as an alternative to the Stanislavsky system, which was dominant in the Chinese theatrical world of the time. Despite interruptions during the Cultural Revolution, the influence of Brecht is now pervasive, and his contribution is evident from the fact that numerous prominent Chinese playwrights and directors claim to be his disciples. By tracing the influence of Brecht and Chinese drama beyond national boundaries, we can gain a deeper understanding of the mechanisms of world drama.
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