Translation. Region: Russian Federation –
Source: Novosibirsk State University –
An important disclaimer is at the bottom of this article.
On February 5, Novosibirsk State University hosted a lecture and meeting with translators of Chinese literature, timed to coincide with the premiere of the Old House Theatre's production of Chinese writer Liu Zhenyun's novel "One Day Like Three Autumns." The speakers included translators and scholars of Chinese literature—Oksana Rodionova, Associate Professor of the Faculty of Asian Studies at St. Petersburg State University, Alexey Rodionov, First Deputy Dean of the Faculty of Asian Studies at St. Petersburg State University, and Natalia Dmitrieva, press secretary of the Old House Theatre—who addressed NSU students majoring in Asian studies and faculty.
The event provided a rare opportunity for students to experience contemporary Chinese literature firsthand through live interaction with the translators of the work that formed the basis of the theatrical production.
Opening the meeting, the director Confucius Institute of NSU Yulia Azarenko noted the particular value of such events for regional universities:
"We have a truly extraordinary event today—a lecture and meeting with translators of Chinese literature. For us, located far from Moscow and St. Petersburg—traditional centers of Oriental studies—this is especially important. An academic environment is essential for development, and this time, the Old House Theatre helped us create one here in Novosibirsk. We are meeting in connection with the premiere of a play staged by a Chinese director based on a contemporary work of Chinese literature."
Elena Voytishek, Head of the NSU Department of Oriental Studies, also delivered a welcoming speech, emphasizing the importance of reading and direct contact with books for humanities students:
"Our librarians always say, 'Orientalists are people who read.' Despite the digital age, humanities students need to feel a book—turn the pages, experience them tactilely. Today, we have the opportunity to experience the great culture of China through literature and through those who could be called 'carriers of meaning between civilizations'—translators. It's especially valuable that we have here both first-year students, just beginning their acquaintance with Eastern culture, and seniors who already have firsthand experience immersing themselves in it."
Alexey Rodionov noted the growing interest in Chinese literature in Russia and its significance in the contemporary cultural context:
"Oksana Petrovna and I are deeply honored to be at NSU today. I highly recommend taking this opportunity to see the performance at the Old House—it's a national cultural event with significant international implications. Orientalists are in demand today more than ever: Eastern culture has long been underrepresented in the public sphere, but that's changing."
According to him, official statistics from the Russian Book Union clearly demonstrate this process:
"In the nearly 300 years of literary ties between Russia and China, Chinese literature has never even made it into the top ten most translated literatures. But in 2021, it took 9th place for the first time, 8th in 2022, and 6th in 2024. There's reason to believe this trend will continue. Students majoring in Asian studies today truly have broad prospects, and our task is to prepare them well for this."
Oksana Rodionova's main lecture focused on the work of Liu Zhenyun, his biography, the historical context of his life, the characteristics of his artistic style, and the worlds presented in his works. Excerpts from the novel were also read during the presentation.
"Liu Zhenyun is one of the ten most famous contemporary Chinese writers. Six of his novels have been translated into Russian to date, and he is a favorite among Russian readers," said Oksana Rodionova. "Even in the 1980s, when China was beginning to actively absorb elements of Western culture, he remained true to himself: he wrote in simple language about the most important things."
According to the translator, it is precisely this simplicity that makes Liu Zhenyun's works particularly profound:
"There are no clearly good or bad characters in his books. Reading his texts, a person begins a dialogue with themselves, checks their internal coordinates, reflects on what is "good" and "bad." These books make you laugh, cry, and ultimately become kinder. Literature that teaches us to be human will always be relevant."
Natalia Dmitrieva, press secretary for the Stary Dom Theatre, spoke about how a literary work was transformed into a theatrical production. According to her, a year ago, the theatre invited Chinese director Ding Yiteng to conduct a series of master classes for the actors:
He is a young, incredibly energetic director who works at the intersection of contemporary theater and Peking opera. He calls himself "the grandson of Stanislavsky and Confucius." Our actors underwent intensive training in the traditions of Peking opera, where every movement has its precise emotional meaning. The immersion was total, and the director noted that the actors were in excellent psychophysical condition—a crucial aspect for the stage.
The lecture and meeting at NSU demonstrated how a literary text can exist in several dimensions simultaneously—literary, translational, and theatrical—and became an important event for students studying the language, culture, and literature of China.
Please note: This information is raw content obtained directly from the source. It represents an accurate account of the source's assertions and does not necessarily reflect the position of MIL-OSI or its clients.