В Европе,о восточном театре, как об источнике, возвращающем забытые идеалы древних цивилизаций, начали уделять пристальное внимание в первой половинеXX‑го века.Один из первых театральных мыслителей, взявших курс на традиции востока, был Гордон Крэг, для которого театр Востока стал генератор мыслей, связанных с избавлением актёрской игры от случайного характера эмоциональных порывов. Открытия, сделанные под влиянием опыта восточных театров, определили вектор направленности последующей театральной мысли. Так, ВсеволодМейерхольд синтезирует актёрские техники театра Кабуки и европейскую драму.

Interesul faţă de teatrul oriental, ca sursă a idealurilor uitate ale civilizaţiilor antice, a început să capete amploare în Europa în prima jumătate a secolului XX. Unul dintre primii cugetători teatrali, care a luat cursul spre tradiţiile Orientului, a fost Gordon Craig, pentru care teatrul din Orient a devenit un generator de gânduri asociate cu eliberarea jocului actoricesc de caracterul spontan al izbucnirilor emoţionale. Descoperirile făcute sub influenţa practicii teatrale orientale au determinat direcţia de gândire teatrală ulterioară a lui Gordon Craig. La rândul său, Vsevolod Meyerhold a sintetizat tehnicile actoriceşti ale teatrului Kabuki şi ale dramei europene.

In Europe, the interest towards the oriental theatre, as the source of the forgotten ideals of ancient civilizations, had been beginning to rise in the first half of the 20th century. Gordon Craig was one of the first theatrical thinkers who had taken a course to the traditions of the East. The experience of the Eastern theatre had become for him a generator of thoughts related to the actor’s liberation from the random nature of emotional outbursts during the acting. Discoveries influenced by the Eastern theatrical practice had been determining the direction of Gordon Craig’s subsequent theatrical thinking. In his turn, Vsevolod Meyerhold synthesized the Kabuki’s acting techniques and European drama.