драматургия

The article deals with the comprehension of the concept of reality in the cultural and scientifi c heritage of the French enlightener Denis Diderot. The interest to this topic is dictated by the timeless relevance of the innovative dramaturgical theory of the thinker, in which the issue of depicting the real is central. In the course of the analysis the works of domestic and foreign philosophers and literary critics, who touched upon the problem of the representation of reality in the 18th century and especially in the works of Denis Diderot, were involved.

In the given article the genre comparative typological analysis of the two satirical masterpieces – the French and Russian classical literature, is carried out. Similarities and distinctions on the basis of the analysis of dynamics of the plot and character logical lines according to Classicism (Moliere) and Realism poetics (Ostrovsky) come to light.

The single sentence by Mikhail Bulgakov about the final of Nikolay Gogol’s play «Revizor» provokes the author of this work to contemplate the finals of Bulgakov’s plays as well. The researcher suggests that Bulgakov considered the Gogol’s final an excellent example of a grotesque («thunderous», as Bulgakov himself called it) end of action. He proves that such type of an unnatural, unexpected denouement distinguishes many Bulgakov’s works.

The article regards the correlation of two approaches of A. P. Skaftymov to the interpretation of A. P. Chekhov’s plays – the historic and the existential; the «polyglottism» of the scientist’s works is researched; the link of his ideas with the emergent existential philosophy is revealed.

The paper examines the creative history of the play Psisha by Yuri Belyaev – a theatre critic, fi ction writer and dramatist of the Silver Age. While working on the article cycle A night at “The Opera House” about theatre history of the times of Catherine II, the critic researched historical sources: periodical, fi ction, documents of the second half of the 18th – early 19th centuries. There Belyaev must have found the material for his early fi ctional experience – the historical short story Psisha.

The article proposes a new version of the cycle-forming organization of “Little Tragedies” by A. S. Pushkin, after a brief excursion through the already existing cycle-forming concepts of a group of scenes and plays united in Russian culture under the non-author’s general name “Little Tragedies”. The intra-textual situation of unexpected, spontaneous inspiration of the central characters of the plays included in the cycle is put forward as a binding compositional element.