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Leonid Andreyev’s Panpsychic Drama “Requiem”
Views:32This article examines the role of Leonid Andreyev’s work in the emergence of the New Drama in Russia and, through an analysis of the play Requiem, highlights the genre-specific and formal characteristics of panpsychic dramas. The author emphasises that Andreyev’s panpsychic drama is a groundbreaking experiment that demonstrates just how far the concept of the dramatic genre can be expanded. The text of the panpsychic drama shows that eventfulness, previously considered one of the main criteria of drama, is by no means fundamental in the New Drama. In this way, the frequency of external events decreases, while the significance of internal events increases, and the role of mental and psychological events becomes increasingly important. On the other hand, Andreyev’s dramatic text already contains within itself an impoverishment of the referential function of artistic language, and the pursuit of the autonomy of tropes becomes the organizing principle of the drama’s structure. These phenomena give Andreyev's drama panpsyche special significance on the way to the contemporary understanding of the New Drama.
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Figures of the Young Actress in the Dramatic Art of A.N. Ostrovsky and A.P. Chekhov
Views:353The present study focuses on the turning point in drama history between the artistic concept of A.N. Ostrovsky, the founder of modern Russian theater, and that of A.P. Chekhov, who transformed the former approach in the matter of just a few decades. I propose that an analysis of Ostrovsky’s Talents and Admirers (1881) and Chekhov’s The Seagull (1896) can reveal the borderline that divides the dramatic formations belonging to these two separate periods. The analysis concentrates on the transformation of a specific motive, the portrayal and the dramatization of the chances of destiny available for the figure of the young actress. I presume that the dramaturgical features surfacing through the exploration of this portrayal will outline the differences in the approach and in the poetic means used by the outstanding representatives of these successive periods in drama history. Thus, I am not seeking intertextual instances in the narrow sense of the term. Rather, I am after a thematic and motive-based congeniality and its saturation with a new meaning, coming from the functional shift that establishes a connection between the texts of the pieces by Chekhov and Ostrovsky. This approach to intertextuality in the broader sense of the term, which is not primarily present in references at the textual level but is rather based on, for example, thematic congruity, can play an important part also in the assessment concerning functional history, in exploring reception-related peculiarities and, consequently, in the validation of the historical aspect.
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Belarusian Literature of the Last Thirty Years From the Perspective of Siarhiej Kavalou’s Book: Сяргей Кавалëў: Беларуская літаратура перыяду трансфармацыі. Абрысы замглëнага краявіду [Siarhiej Kavaloŭ: Belarusian literature of the transformation period: Outlines of a hazy landscape]. Lublin, Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej, 2025, 270 p. ISBN: 978-83-227-9916-1
Views:29This text is a review of a book by the renowned scholar of Belarusian literature Siarhiej Kavaloŭ, devoted to the history of Belarusian literature from 1985 to 2020. The author explores the dramatic fate of the literary generation known as the ‘Tutèjšyâ' [Locals], who initiated a process of linguistic and artistic renewal after 1985. He traces the development of the literary scene following independence, highlighting key artistic events, and emerging figures in Belarusian literature. He also presents the political and social circumstances accompanying this process, right up to its stalling following the elections rigged by Lukashenko in 2020. Kavaloŭ writes about Belarusian poetry, prose, and drama. He analyses the work of the most important literary critics and literary historians. The book was published in 2025 at the Maria Curie-Skłodowska University in Lublin in Belarusian.
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Comedy against a tearful background: The interference of catharsis in L.S. Petrushevskaya’s play Colombina’s Apartment
Views:313The paperraises the question of catharsis in modern dramaturgy as a complex and ambiguous aesthetic reaction of the reader. The concept of “interference of catharsis” is introduced, meaning the combination of two of its types, laughter and tears, due to which a synergistic effect occurs that enhances both reactions. The introduced definition is tested based on the analysis of Petrushevskaya’s one-act play Colombina’s Apartment, which is recognized as an example of a philosophical farce. It is noted that in modern drama, the place of pure tearful and laughter catharsis has been taken by their reduced derivatives. Irony replaces open laughter, and feelings of bitterness or regret replace tears. The analyzed play is recognized as an example of modern metadrama. Petrushevskayauses not only the traditional characters of the commedia dell'arte (Harlequin, Pierrot, and Columbine) ata new time and in a new setting, but also the poetics of puppet theater, as well as the realities of Soviet children's theater. Laughter, which operates throughout the entire play, is removed at the end by the bitterly ironic aesthetic reaction of the readers, which is caused by compassion for the funny characters. Superimposed on one another, they create what is called the interference of catharsis.
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«Chekhov’s Stage Set»: «The Cherry Orchard» in the Russian Poetry of the 20th – Early 21st Century
8 p.Views:414Chekhov’s text is one of the most significant constituents of the Russian poetry of the 20th – early 21st centuries. The one most frequently alluded to is the play by Chekhov – «The Cherry Orchard». The play written at the break of historical epochs turns out to be in tunes with the times of another turning-point. This fact conditions the allusion to the Chekhov’s text in a poem «The Young Poetry» by V. Kornilov. The main feature of the crucial time period in the poem is the category of freedom, unexpectedly granted during the historical turn and change. The key theme, which determines the historiosophical sense of the text, is a quotation from «The Cherry Orchard», a dialogue between Gaev and Fiers. I. Kabysh perceives the Chekhov’s play both mythopoetically and symbolically in such poems as «How Niveous-White Everything Is in Russia Today! » and «The Snow Started to Fall Without Delays». She introduces a different time into the text, models the reality after the events described in «The Cherry Orchard» and interpreted by the author of the poem in the lower clef (as in «crumbled estate»). The loss of the Garden, its disintegration, the loss of entity, is a gradual, step by step, process – into dachas, then into dust; that is the way the motif of vanishing space and culture appears.
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Chekhov in New York: the Functions of Frame in Louis Malle's "Vanya on 42nd Street" (1994)
10 p.Views:331This paper focuses on Luis Malle’s creative adaptation of Chekhov’s “Uncle Vanya”. The frame location of "Vanya on 42nd street" is not only documentary evidence and a sign of admiration for the actors' ensemble, creating the spirit of live improvisation in the unfinished theatrical production by Andre Gregory. It is argued that the film is far from being another spectacular 're-citing' of Chekhov's ‘transcultural capital’. A set of framing elements foregrounds Chekhov's art in general and the way he represents Vanya’s stoic endurance in particular as resonating with the living experience of a person of any culture in whatever language (Russian, English, Bengali, theatrical, cinematic, etc.) holds general validity. Among leitmotifs which interconnect the frame and the drama performance within the film there are also those of kinship, unselfish friendship and true involvement in life as an ongoing rehearsal and improvisation on an inescapable life project that is never successful.
