The article is devoted to the comprehension of the opera The Dawns are Quiet Here dramaturgy peculiarities based on the B. Vasiliev’s novel. The analysis of Kirill Molchanov’s and Tan Jianping’s editions reveals two cardinally different approaches to the idea of the musical and stage work construction. Molchanov’s compositional strategy derives from the genesis of the opera created on the basis of film music. The work displays a steady influence of cinematic aesthetics. In this case, the dramaturgical structure is subordinated to the logic of cinematic narrative considering its montage technique and principles of plot development. Tan Jianping turns to the traditional number dramaturgy of opera, thou. Each part forms the complete artistic piece without losing the whole system completeness. The appropriateness of dramaturgical features in the Russian and Chinese composers’ creations is dictated by their creative aberrations.