This article analyzes some aspects of the reception carried out by the Chinese drama theater with respect to the «Stanislavsky system». It is demonstrated as the complexity of the perception of psychological theater by the tradition of the theater of plastic, nondramatic tradition in essence devoid of psychologism, and ideological and metaphysical «stress points» formed in relation to the «system» during the Cultural Revolution in the PRC. The article also analyzes the prerequisites for the mechanics of implementing Stanislavsky “system” by Chinese theatrical traditions in the period preceding the Cultural Revolution, during the Cultural Revolution, and focuses on the impact that the Cultural Revolution made on the process of perception, analysis, popularity, teaching, studying the “system”. Wider systemic conclusions are also being made regarding the correlation of things in the theater in comparison with the western theater and the eastern theater; in the context of the Cultural Revolution, it is shown how theater can be taken as a thing, and demonstrates its universalistic essence, which breaks through the limits of thingness, plasticity, and figurativeness.