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This paper aims at analysing the critical interpretation of Carlo Goldoni’s theatre in China in the second half of the twentieth century, reading it as, using the definition of Chen Xiaomei, a form of Occidentalism. Chinese essays are analysed and compared with the Russian and Italian studies of the same period so as to highlight the peculiarities of the Chinese interpretation. The paper illustrates how Chinese criticism has mainly focused on the social and ideological meanings of Goldoni’s works rather than on their formal aspects. As a consequence, the Venetian’s plays have been introduced as an example for the creation of revolutionary and modern Chinese theatre, and in order to endorse this effort made by Chinese theatre experts

Gli studi goldoniani in Cina alla metà del XX secolo