Archive of Scientific Articles

Submitted: October 23, 2026

Abstract. The aim of this study is to identify the universal and nationally specific parameters of the concept of “heroism” that underlies Russian and Chinese opera traditions of the 20th century and reflects the mental, religious-philosophical, and historical-cultural characteristics of the two peoples. The article examines the operatic representation of the heroic principle in Russian and Chinese musical-theatrical traditions from a comparative perspective, a topic of particular relevance during the period of the active integration of Chinese musical culture into the global community. Within the basic conceptual model of “Heroic Deed – National Cultural Code”, the following frames were identified and analyzed: “source of heroism”, “type of hero”, “purpose of the heroic deed”, “attitude toward death”, “role of the collective”, and “musical-dramaturgical means of embodying the heroic principle”. The scientific novelty of the study lies in the fact that, for the first time, based on material from Russian and Chinese operas of the 20th century, it describes and systematizes the segment of operatic heroism formed on the basis of the concept of “heroism”. The study establishes that, in the Russian operatic tradition, the hero appears as an individual who sacrifices himself for the sake of the motherland or higher ideals, whereas in Chinese opera, heroism is manifested through a strict code of conduct, wisdom, and devotion to the state, family, and moral duty, as well as through moral qualities determined by tradition. In the 20th century, Chinese heroic opera was influenced by Soviet opera, while retaining national features in its understanding of the heroic principle. Despite the differences, both traditions converge in that heroism is always associated with self-sacrifice and service to lofty spiritual goals, which makes opera a powerful means of expressing the national spirit and cultural codes of Russia and China.

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