Mika’s werk ging tot ver in China waar het spelen van Shakespeare niet zo’n vanzelsprekende zaak was.
Het was Morozov’s werk dat de stugge doctrinaire regels doorbrak:
The Soviet mode of performing and understanding Shakespeare was dominant in China. Works by leading Soviet Shakespeare scholars, such as Morozov and Anikst, appeared in more than one version. Moreover, key texts of Stanislavsky’s system were translated and widely circulated in China; An Actor Prepares was translated in 1956.
One of the most important Soviet works translated into Chinese was Mikhail Mikhailovich Morozov’s (1897-1952) Shashibiya zai Sulian [Shakespeare in the Soviet Union] (Wu Ningkun 1953), as translated from David Magarshack’s English translation (Morozov 1947).
Morozov’s influence in China was visible from the 1950s through the 1980s, during which time Morozov’s influential biography of Shakespeare was translated and widely read by students and scholars (Morozov 1984).
Alexander C.Y. Huang, The Politics of an “Apolitical” Shakespeare: A Soviet-Chinese Joint Venture, 1950-1979 The Pennsylvania State University
Of hoe een schilderij je op het spoor brengt van Much ado nothing in het China van Mao.