Contributions of directors trained by the (former) Soviet Union to Vietnamese drama

Theatre has been around for thousands of years, since the dawn of human civilization, and the art of directing was only formed in the early years of the 20th century, but the art of directing has proven to be an indispensable role in modern theatrical life. When it comes to theatrical art, one cannot ignore the role of the director, as this force has been the pioneer in creating completely new and creative trends in modern theater art, worthy of the attention and honor of theater workers

The art of directing appeared late on the Vietnamese theater, but that does not mean that the team of directors is less important to the country's theater than the position of directors in the general development of the world theater. Before the term director existed, in Vietnam there were people who played similar roles. They were Tuong teachers in Tuong theater, Cheo masters in Cheo art and more recently, theater directors in Drama. But only when a team of real directors appeared, those who were sent to study abroad (would like to limit the survey of the team of directors trained in the former Soviet Union) about an artistic profession that was still too new, and we had too little knowledge and understanding, did the Vietnamese theater, especially Drama theater, really make changes. They became an important driving force in the development of drama and contributed to creating a rather unique artistic trend: The trend Drama receiving and inheriting tradition. The role and contribution of this team in Vietnamese theater is extremely important. The activities of the team of directors studying abroad in the (former) Soviet Union have brought about great changes in the quality of Vietnamese drama theater.

I would like to limit myself to the scope of the evidence of directors studying abroad in the former Soviet Union, but also expand the scope of the survey to the number of directors studying abroad in third countries being taught by Soviet experts, as there are many cases of receiving directorial knowledge. Firstly, the first class of directors trained abroad were directors Dinh Quang, Dinh Nghi, Tran Hoat who studied abroad in China but were directly taught by Soviet experts (opinion of People's Artist Dinh Quang). Not only Vietnamese theater, but in general, theater of the socialist bloc at that time studied on the theoretical foundation of the former Soviet Union, the core of which was the theoretical system of Stanislapxki. Later, from the 60s to the 80s of the 20th century, most of our directors studying abroad studied in the former Soviet Union and they were trained by the friend country according to the correct program in a serious manner. From a certain perspective, the creative tendency of Vietnamese drama directors is an affirmation of the way of working that has been taught by the friend country. Secondly, the main reason is subjective, due to the limited coverage of documents and understanding, it is impossible to have all directors study in other Western countries like the previous Southern directors.