comedy

The article studies inter-textual links of comediography of A. V. Sukhovo- Kobylin with N. V. Gogol’s literary legacy, the functions of Gogol’s allusions used by Sukhovo-Kobylin in the context of the formation of Russian realistic drama are being researched.

In the article the image of the governess Sharlotta Ivanovna, a character from Vishneviy Sad (The Cherry Orchard), is analyzed. The motives of the play realized in the text are key to understanding the character. The story of creation and the stage fate of Sharlotta Ivanovna are also considered in the article.

The article deals with the images of General Varravin and Rasplyuev and examines their relationships. The researcher shows how the state, represented by Varravin, creates a monster, which at some point becomes a danger not only for the city inhabitants, but also for its own creators.

A viewpoint is presented that Chekhov’s comedy may be considered as a polyphonic (in the musicological understanding of the term) reunion of melodic voices of different characters with whom the voice (self-awareness, behavior, squeamish and sneering attitude to other people) of the young footman Yasha is conspicuously and ominously discordant.

The rich motive of absentmindedness that pervades the last comedy by A. P. Chekhov «The Cherry Orchard» is regarded in this article from the perspective of the Parisian theme forbidden in the household and closely related to innermost passionate anxieties of Lyubov Andreevna Ranevskaya.

The article considers the image of Mashenka Turusina from the play by A. N. Ostrovsky Enough Stupidity in Every Wise Man. Analyzing textual behavior of the character, the author proves that the young foster daughter is not only ‘a home martyr’ but also a skillful manipulator who adjusts the environment to her own liking. This game makes her similar to the main character of the comedy – Glumov: he tries to make his way up by flattery and deception.

The article researches how Khlestakov’s image that has become a household name has impacted the oeuvre of the later play writers. The images of the so-called Khlestakov-like characters are considered in the works of Gogol himself, of Sukhovo-Kobylin, Saltykov-Shchedrin, Ostrovsky.

The article considers one of the satellites of N. V. Gogol’s comedy The Government Inspector in which an important role is played by the phenomenon of the author’s cunning. All the phases and techniques of the author’s play are consistently revealed; they are aimed at offering the readers a new interpretation of the famous comedy.

The article considers the image of I. N. Arkadina from the point of view of the acting phenomenon. An actress not only by her profession, but throughout her life, Arkadina constantly changes types, acts a part, does everything ostentatiously, which other «non-theatrical» characters behaving naturally put into even sharper relief.

The article deals with the image of Lydia Cheboksarova, the heroine of the play by Alexander Ostrovsky Money to Burn, in the context of the implementation of the game motives in the text. The author focuses on behavioral strategies of the character, its world outlook, stylistic range.