The article considers A. F. Pisemsky’s continuing classicist tradition represented by P. A. Katenin and overcoming it in the course of developing his unique writer’s and playwright’s poetic language on the model of a specific drama technique (deus ex machina). It has been established that Pisemsky reconsidered the key figure of classicist theatre from different perspectives: gender, age, space and time, but first and foremost from moral and didactic point of view.
