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“THE MAN WHO IS SATISFIED” IN A.P. CHEKOV’S ARTISTIC WORLD: FROM “THE OFFICIAL’S DEATH” UP TO “NEW DRAMA” // Tomsk State Pedagogical University Bulletin. 2011. Issue 7 (109). P. 112-117

Chekov’s artistic anthropology peculiarities are considered in this paper. The main problem of the essay is the problem of interaction and development of the epic and drama models of the writer’s world. The image of Chekhov’s drama hero having the character’s content similar with the epic hero of “The Man Who Is Satisfied” allows to speak about the extent of influence of the evolving models of the epic world created in the early satirical short stories by A.P. Chekov on the appearance of “new drama” as well as about the changing of the author’s personality conception that is in the features of the hero image content, his appraisals and ways of their expression.

Keywords: “new drama”, epos-influenced drama, the hero’s status, the author and hero in drama, “person”, “mask”

THE “FATHERS AND CHILDREN” PROBLEM IN NAIDYONOV AND GORKY2S DRAMA // Tomsk State Pedagogical University Bulletin. 2013. Issue 2 (130). P. 30-34

In this article the problem of interrelations among the representatives of different generations within the same family is considered as the problem reflected in the specific character of spatial drama images, the central image of them is the image of home. The peculiarity of the plot elaboration of the spatial image reveals the specific character of the author2s solving the “fathers and children” problem by Naidyonov and Gorky.

Keywords: a drama author, a hero, spatial stage and out-of-stage images, a drama plot

MAIN FUNCTIONS OF CHEKHOV’S PLOT IN RUSSIAN DRAMATURGY OF THE 70TH AND EARLY 80TH OF THE 20TH CENTURY // Tomsk State Pedagogical University Bulletin. 2014. Issue 11 (152). P. 98-102

The subject of this paper is the problem of the author’s dramatic plot. It is the designation of the appraisal and from – without – vision peculiarities of the story depicted by the author. These peculiarities tell the playwright both from the other authors interpreting the same plot situation and from the hero having his own comprehension of what is going on from within the dramatic situation. Besides Chekhov’s plot is not just the author’s plot. It is plot of special typology. The main function of heroes in it is not the action but the personality’s understanding of his present, past and future. On these grounds the integral world picture only appears on interaction of the position in vision and appraisal of the story by the characters from the reader’s/spectator’s position. As a result, the world model expressing the individual peculiarities of the author’s life conception is recreated on the territory of the reader’s consciousness. The playwrights of the 70th–early 80th of the 20th century typologically created the plots similar to Chekhov’s ones. But it is important that the authors used his elements as well – the situations keeping the author’s vision, heroes, with the help of which Chekhov’s world model appeared in his time. It allows us to speak about the working – out of Chekhov’s plot as “someone else’s”. In the final analysis, Chekhov’s plot has some prognostic functions. It sets the direction of the modern history movement, predicts key events. At the same time the unjustified of plot expectations allows the playwrights to designate, first of all, their own life understanding different from Chekhov’s; secondly, the principal lack of coincidence of their time and Chekhov’s time. Only in the situation of recognizing Chekhov’s heroes and situation become “the codes” allowing to decode the modern dramatic story, to reveal the plurality of its meanings, the individuality of the author’s position. In its turn, new meanings of Chekhov’s plot appear in the new author’s and time context.

Keywords: Dramatic action, author’s dramatic plot, Chekhov’s plot, Chekhov’s hero, Prime-character, Primeevent, dialogue with reader/spectator, dialogue with predecessor