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Italian Carlo Goldoni' s theatre has surprisingly played an important role in the development of Chinese theatre in the second half of the 20th century. The servant and two masSers have been performed in China since 1956, it was taken as a model in the promotion of a new modern and popular theatre and played a role in the promotion of huaau revolutionary. This article firstly analyzes the process of assimilation of Goldoni' s theatre into the Chinese cultural context and its ideological meaning attributed to it by Chinese critique during the 20th century. According to Gissenwehrer researches on the intercultural exchange between Western and Chinese theatre, Rossella Ferrari ' s study on Brechtian theatre in China and Chen Xiaomei ' s theory on Occidentalism, it also attempts to explain motivation that leads to define Chinese performances of Goldoni' s plays as productive reception, which had experimental function in the creation of new theatrical models and stylistic forms. [ABSTRACT FROM AUTHOR]