MAIN FUNCTIONS OF CHEKHOV’S PLOT IN RUSSIAN DRAMATURGY OF THE 70TH AND EARLY 80TH OF THE 20TH CENTURY
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
References:
1. Gegel G. V. F. Aesthetics in 4 volumes. Moscow: Iskusstvo Publ., 1968–1973. (in Russian).
2. Bakhtin M. M. Verbal creation aesthetics. Moscow: Iskusstvo Publ., 1979. 424 p. (in Russian).
3. Balukhatyy S. D. Questions of poetics. Leningrad: Leningrad State University Publ., 1990. 320 p. (in Russian).
4. Bart R. Introduction into structural analysis of narrative texts. URL: http://www.gumer.info/bibliotek_Buks/Literat/bart/01.php. (Accessed: 31 June 2014). (in Russian).
5. Sukhikh I. N. The problems of A.P. Chekhov„s poetics. Leningrad, Leningrad State University Publ., 1987. 180 p. (in Russian).
6. Bakhtin M. M. Epos and Novel. St. Petersburg: Azbuka Publ., 2000. 304 p. (in Russian).
7. Kataev V. B. Chekhov„s literary ties. Moscow: Moscow State University Publ., 1989. 260 p. (in Russian).
8. Arro V. K. The gauge. Moscow: Sovetskiy pisatel Publ., 1987. 352 p. (in Russian).
9. Petrushevskaya L. S. Collected works in 5 volumes. Kharkov: Folio Publ.; Moscow: TKO AST Publ., 1996. (in Russian).
10. Chekhov A. P. Complete work and letters in 30 volumes. Works in 18 volumes. Moscow: Nauka Publ., 1974–1982 (in Russian).
11. Golovchiner V. E. “Three sisters” by Anton Chekhov in the context of the artistic search in the early XX century. TSPU Bulletin, 2010, no. 8 (98), pp. 5–10 (in Russian).
12. Petrushevskaya L. S. The ninth volume. Moscow: Eksmo Publ., 2003. 336 p. (in Russian).
( 421.42 kB ) 
( 415.28 kB )
Issue: 11, 2014
Series of issue: Issue 11
Rubric: HISTORICAL POTENTIALS AND MANIFESTATIONS OF CONVENTIONALITY
Pages: 98 — 102
Downloads: 857