Izvestiya of Saratov University.
ISSN 1817-7115 (Print)
ISSN 2541-898X (Online)

русская драматургия

Theatrical Fate of One Comedy («Brigadier» by D.I. Fonvizin in Russian Theatre)

The article presents the theatrical fate of the first Russian original drama piece – the comedy «Brigadier» by D.I. Fonvizin. There is an attempt to analyze the interpretation potential of the literary work in question.

Waiting for Game. To the Question of the XIXth Century Russian Drama Poetics

The article studies the motif of waiting for game situation that often occurs in the story-line of the XIXth century Russian comedies, gives ground for its essential importance for the plot-building and creating the characters of the plays, points to the connection of this intertextual situation with the reality of the Russian society, its social, moral and psychological climate.

Unconcealed Citations. Gogol’s Allusions in Sukhovo-Kobylin’s Comedies

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.

On the Traditions of Folklore Comedy Theatre in Sukhovo-Kobylin’s Comedy Tarelkin’s Death

The article analyzes the connection between A. V. Sukhovo-Kobylin’s comedy Tarelkin’s Death and the aesthetics of street theater. The author draws parallels between Sukhovo-Kobylin’s play and the Russian traditional puppet show and gives his evaluation of the playwright’s pastiche techniques and the functions of these pastiches.

To the Storyline of M. Saltykov-Shchedrin’s Dramatic Satire Shadows. Shalimov’s Intrigue

This article offers a new view of the storyline and dramatic conflict in Mikhail Saltykov-Shchedrin’s dramatic satire Shadows. According to the author’s hypothesis, the driving force of the plot is an off-stage character Schalimov whom literary critics have often considered as an ‘ideal’, quixotic character. In the article Schalimov is analyzed from the point of view of political intrigues in which the characters of the play are involved. The author of the article also offers his idea of the reasons behind Saltykov-Shchedrin’s sudden loss of interest to this play.

The Russian Comic Opera of the XVIIIth Century in Its Links with Literature and Theatre (on the Example of the Opera Oeuvre of V. A. Pashkevich)

The article studies the formation and development of the Russian musical theatre of the XVIIIth century. It focuses on the opera oeuvre of V. A. Pashkevich; close links between the Russian literature and music are traced in it; the major typological features of the Russian comic opera are singled out.

N. V. Gogol’s motives in the Russian plays at the turn of the 20–21st centuries (Pannochka by N. Sadur / Viy by V. Sigarev)

The attention of the playwrights and theatre to Gogol’s prosaic text opens new forms of understanding of the classical text, and allows to find in it both deeply personal author’s content and something relevant to the society of a diff erent time. In the plays Pannochka by N. Sadur and Viy by V. Sigarev, the transformation of Gogol’s motives reveals the deep meanings of the story. These are Gogol’s favorite motives of a vague fear of women, eschatological forebodings, the fear of oblivion.