Modern Russian dramaturgy. Complex "modern Russian dramaturgy"

Continuing the analysis started in previous issues theater poster, "Theatre." decided to calculate what proportion of the total number of performances in Moscow and St. Petersburg is the production of works by this or that author, and to clarify some general principles repertory policy of both capitals.

1. Repertory leader of Moscow and Peter Chekhov. There are 31 Chekhov productions on the Moscow playbill, 12 in St. Petersburg. Classical plays are in the greatest demand (in Moscow there are as many as five Cherry Orchards and five Seagulls), but prose is also in use: Three Years, Lady with a Dog , "The Bride", etc. Often directors combine several humorous stories- as it is done, for example, in the performance of the theater Et Cetera "Faces".

2. Chekhov is slightly inferior to Ostrovsky: in the Moscow poster there are 27 of his plays, in the St. Petersburg - 10. "Mad Money", "Forest", "Sheep and Wolves" are especially popular. However, upon closer examination, it is not Ostrovsky, but Pushkin, who is on the second line of the rating in St. Petersburg: in St. Petersburg there are 12 Pushkin productions against Ostrovsky's 10 productions. Dramas, prose, and original compositions are used - like "BALBESY (Pushkin. Three Tales") or "Don Juan and Others".

3. The third place in both capitals is occupied by Shakespeare (18 productions in Moscow and 10 in St. Petersburg). In Moscow, "Hamlet" is in the lead, in St. Petersburg - "Love's Labour's Lost".

4. Gogol - in percentage terms - is also revered equally. There are 15 productions in Moscow, 8 in St. Petersburg. Naturally, "Marriage" and "Inspector General" are in the lead.

5. The fifth line in Moscow is occupied by Pushkin (in the poster - 13 productions based on his works), and in St. Petersburg the fifth point is shared by: Tennessee Williams and Yuri Smirnov-Nesvitsky - a playwright and director who stages his own plays: "The Yearning of the Soul of Rita V.", "At the ghostly table", "Windows, streets, gateways", etc.

6. Starting from this point, the repertoire policy of both capitals diverges markedly. The sixth place in the Moscow rating is occupied by Dostoevsky (there are 12 performances in the playbill), the most popular " Uncle's dream". In St. Petersburg, Dostoevsky shares the sixth line with: Vampilov, Schwartz, Anui, Turgenev, Neil Simon and Sergei Mikhalkov. The names of all the listed authors appear in the St. Petersburg poster three times.

7. After Dostoevsky, Bulgakov follows in Moscow (11 productions), the most popular is The Cabal of the Hypocrites. And in St. Petersburg there are a number of first-class, second-class and it is not known to what class of authors attributable. The works of Wilde, Strindberg, Mrozhek, Gorky, Molière with Schiller, Lyudmila Ulitskaya and the "Achaean" Maxim Isaev are found in the poster as often as the works of Gennady Volnokhodets ("Drink the Sea" and "Architect of Love"), Konstantin Gershov ("Nos- Angeles”, “Funny in 2000”) or Valery Zimin (“The Adventures of Chubrik”, “Shush! Or the stories of Filofey the cat”).

8. Following Bulgakov in Moscow, Alexander Prakhov and Kirill Korolev follow, who themselves stage what they compose. Jokes are jokes, and there are 9 (!) performances by each of these authors in the Moscow poster. Among the plays of the Queen are Riding a Star, This World Is Not Invented by Us, Until the End of the Circle, or the Princess and the Rubbish. Peru Prahova belong to: “Eaves for conversation”, “My dog”, “Jester bird”, “Let everything be as it is ?!”, “Happy birthday! Doctor" and other plays. In St. Petersburg, the eighth and, as it turns out, the last line of the rating is occupied by about fifty authors, the name of each of which appears in the poster once. Among them: Arbuzov, Griboedov, Albert Ivanov (“The Adventures of Khoma and the Gopher”), the creative duet of Andrey Kurbsky and Marcel Berquier-Marinier (“Love in Three Together”), Arthur Miller, Sukhovo-Kobylin, Brecht, Shaw, Grossman, Petrushevskaya, Alexei Ispolatov (“A village was driving past a peasant”) and many more names, among which, upon closer examination, one can notice as many as two works by the authors of the new drama: “The Apple Thief” by Xenia Dragunskaya and “Locust” by Bilyana Srblyanovich.

9. The ninth line in Moscow is shared by Schwartz, Moliere and Williams - each of them has 7 names in the poster. "Tartuffe" and "Glass menagerie" are in the lead.

10. The following are those authors whose names are found in the Moscow poster 6 times. This is the absurdist Beckett and the creative union of Irina Egorova and Alena Chubarova, who combine writing with the performance of the duties, respectively, of the chief director and artistic director of the Moscow Komedian Theater. Playwright girlfriends specialize in life wonderful people. From their pen came plays that formed the basis of the productions “More than a theater!” (about Stanislavsky), "Sadovaya, 10, then - everywhere ..." (about Bulgakov), "A room with four tables" (also about Bulgakov), as well as the play "Shindra-Bindra", which turns out to be a fairy tale about Baba Yaga upon closer examination , scientific cat and shepherd Nikita.

Outside the top ten, in descending order, remained in Moscow: Vampilov, Saroyan, box office Eric-Emmanuel Schmitt and the purely intellectual Yiannis Ritsos, an elderly Greek playwright who penned modern remakes antique dramas. Alexander Volodin, Boris Akunin, Yevgeny Grishkovets, Gorky, Rostan and Yuly Kim have 4 mentions each. It is amazing that they are inferior to Ray Cooney (!), as well as Wilde and Kharms - 3 mentions each. The names of Vajdi Muawad, Vasily Sigarev, Elena Isaeva, Martin McDonagh and Mikhail Ugarov are mentioned twice in the Moscow poster, as are the names of classics like Sophocles, Beaumarchais and Leo Tolstoy.

The Center for Drama and Directing and the Theater remained outside the scope of this repertoire research. doc and "Practice" - they simply did not send their repertoire to the editors of the reference book that collected the data " Theatrical Russia". But even with their participation, the picture would not have changed much.

There is very little Russian new drama in the repertoire of the two Russian capitals and practically no high-quality modern Russian prose. As for the foreign authors of the last two or three decades - from Heiner Muller to Elfriede Jelinek, from Bernard-Marie Koltes to Sarah Kane, from Botho Strauss to Jean-Luc Lagarce, then they should be looked for in the poster at all during the day with fire. A significant part of the Moscow and St. Petersburg playbill is filled not so much with box-office translated plays, which would be at least somehow explainable, but with names and titles that do not tell anything to anyone, like Artur Artimentyev’s Dialogue of Males and Aleksey Burykin’s Alien Windows. So there is a feeling that the main and only repertory principle of the capital's theaters is the principle of a vacuum cleaner.

When compiling the material, the data provided by the reference book "Theatrical Russia" were used.

100 r first order bonus

Choose the type of work Graduate work Course work Abstract Master's thesis Report on practice Article Report Review Examination Monograph Problem solving Business plan Answers to questions creative work Essay Drawing Essays Translation Presentations Typing Other Increasing the uniqueness of the text Candidate's thesis Laboratory work On-line help

Ask for a price

Like all Russian literature of the turn of the century, dramaturgy is marked by the spirit of aesthetic pluralism. It presents realism, modernism, postmodernism. Representatives of different generations take part in the creation of modern dramaturgy: Petrushevskaya, Arbatova, Kazantsev, finally legalized representatives of the post-Vampilian wave, Prigov, Sorokin, the creators of postmodern drama, as well as representatives of the nineties dramaturgy. The playwrights Ugarov, Grishkovets, Dragunskaya, Mikhailova, Slapovsky, Kurochkin and others managed to attract attention to themselves - a whole galaxy of interesting and different authors.

The leading theme of modern dramaturgy is man and society. Modernity in the faces reflects the work of realist playwrights. One can refer to such works as "Competition" by Alexander Galin, "French passions at a dacha near Moscow" by Razumovskaya, "Trial interview on the theme of freedom" by Arbatova and many others. Maria Arbatova managed to arouse the greatest interest among the representatives of realistic drama in the 1990s thanks to the feminist problematics new to Russian literature.

Feminism is fighting for the liberation and equality of women. In the 1990s, a gender approach to this issue will be felt. Literal translation the word “gender” is “sex”, but in this case sex is understood not only as a biophysical factor, but as a sociobiocultural factor that forms certain stereotypes of male and female. Traditionally, in the world history of the last millennia, a woman was given a secondary place, and the word "man" in all languages ​​is masculine.

In one of the speeches, in response to the words “There has already been emancipation in Russia, why are you breaking through the open gates?” Arbatova said: “To talk about what happened women's emancipation, we need to see how many women are in the branches of power, how they are allowed to access the resource and to make decisions. After reviewing the figures, you will see that there is no talk of any serious female emancipation in Russia yet. A woman... is discriminated against in the labor market. A woman is not protected from ... monstrous domestic and sexual violence ... Laws on this matter work in such a way as to protect the rapist ... because they were written by men. Only a part of Arbatova's statements is given to show the validity of the women's movements that have begun to make themselves known in Russia.

The musical background of the play was the song "Under the Blue Sky" by Khvostenko - Grebenshchikov. The neighbor's daughter is learning this song, the music sounds out of tune and out of tune. Song about ideal city turns out to be corrupted. A spoiled melody is, as it were, an accompaniment to an unsuccessful family life in which resentment and pain reign instead of harmony.

Arbatova shows that an emancipating woman, asserting herself, should not repeat the average man, borrow his psychology. About this - in the play "The War of Reflections". Here the type of the new Russian woman is recreated, striving to behave the way, according to her erroneous ideas, most women of the West behave. “I also believe that a man is an object of consumption, and I also demand comfort from him. Let him be thoroughbred and silent. The man and woman become mirrors in the play, reflected in each other. For the first time, a male hero gets the opportunity to see himself from the outside in the form of a moral monster. The new feminism does not mean a war of the sexes, but their parity, equality.

To the question “Do you see the danger from feminism?” Arbatova cited the Scandinavian countries as an example, where already up to 70% of the clergy are women, half of the parliament and the cabinet of ministers are occupied by women. As a result, they have "the most balanced policy, the highest social security and the most legal society."

Other plays by Arbatova were also successful - "The Taking of the Bastille" (about the originality of Russian feminism compared to Western) and "A Trial Interview on the Theme of Freedom" (an attempt to show a modern successful woman).

Since the mid-1990s, Arbatova has left dramaturgy for politics and writes only autobiographical prose. Skoropanova believes that dramaturgy has lost a lot in the person of Arbatova. Those plays that were published are relevant to this day.

Realism in drama is partly modernized and can be synthesized with elements of the poetics of others. art systems. In particular, such a current of realism as "cruel sentimentalism" appears - a combination of the poetics of cruel realism and sentimentalism. The playwright Nikolai Kolyada is recognized as the master of this direction. "Go away, go away" (1998) - the author revives the line little man in literature. "The people I am writing about are the people of the province... They strive to fly over the swamp, but God did not give them wings." The action of the play takes place in a small provincial town located next to a military unit. From the soldiers, single women give birth to children and remain single mothers. Half of the population of such a town, if they manage to break out of poverty, fails to become happy. Life has hardened the heroine, Lyudmila, but deep down in her soul, tenderness, warmth and depth of love have been preserved, which is why Lyudmila advertises her desire to meet a man to start a family. A certain Valentine appears in her life, whom reality, however, disappoints: he (like Lyudmila - her husband) wants to find a strong, wealthy wife. On Friday, the city plunges into unrestrained drunkenness, and Valentine arrives just in time for Saturday and Sunday. During the next feast, demobilizations insulted Lyudmila, and Valentin stood up for her. For her, this was a real shock: for the first time in her life (the heroine has an adult daughter), a man stood up for her. Lyudmila cries with happiness for being treated like a person. The sentimental note that pervades Kolyada's play reflects the need for kindness and mercy. The fact that all people are unhappy, Kolyada seeks to emphasize in this and his other works. Pity permeates everything written by Kolyada and determines the specifics of his work.

In the foreground in dramaturgy, it may not even be the person himself, but reality in Russia and the world. The authors use fantasy, symbolism, allegory, and their realism is transformed into post-realism. An example is "Russian Dream" (1994) by Olga Mikhailova. The play reflects the social passivity of the bulk of Russian society, as well as the unexpired social utopianism. The work recreates the conditional world of a fairy tale-dream, extrapolated to the reality of the nineties. In the center of the play is the image of the modern Oblomov, the charming young man Ilya, who is characterized by laziness and idleness. In his heart, he remains a child existing in a fantasy world. Ilya seeks to be persuaded to social activity by the Frenchwoman Katrin, but neither her energy nor her love could change Ilya's lifestyle. The finale has a disturbing and even eschatological connotation: such passivity cannot end well.

Features of eschatological realism also appear in Xenia Dragunskaya's play "Russian Letters" (1996). The depicted conditionally allegorical situation resembles the situation “ cherry orchard”: the country house that the young man Nochlegov sells when moving abroad is a metaphor: this is the house of childhood, which is depicted as doomed to death, like the garden in front of the house (due to radiation, all living things die here). However, Skye that arises between Nochlegov and a young woman can turn into love, the author makes it clear, and this, with a sad ending, leaves a vague, but hope for the possibility of salvation.

So, the codes of either sentimentalism, or modernism, or postmodernism are being introduced into the realistic drama everywhere. There are also borderline phenomena, among which the plays of Yevgeny Grishkovets can be attributed. To a large extent, they gravitate towards realism, but may include elements of the modernist stream of consciousness. Grishkovets became famous as the author of the monodramas "How I ate a dog", "At the same time", "Dreadnoughts", in which there is only one actor(hence the term "monodrama"). The hero of these plays is mainly engaged in reflection, the results of which he acquaints the audience with. He reflects on the most different phenomena life and most often about the so-called " simple things”, as well as the category of time. Everyone gets knowledge about these subjects at school and university, but the hero of Grishkovets strives to think independently. The process of independent thinking, somewhat naive, confused, not crowned with great results, occupies a central place in the plays. The sincerity of the hero of the monodrama attracts, which brings him closer to those sitting in the hall. Often the hero rethinks certain facts of his biography. What in his youth seemed normal and self-evident to him is now criticized by him, which indicates personal growth, an increase in moral requirements for himself.

Interestingly, Grishkovets is not only a playwright, but also an actor. He admits that it is boring to pronounce the same text over and over, and each new speech of his includes variant moments. That is why Grishkovets had problems with publication: a conditionally basic text is being published.

Along with the monodrama, Grishkovets also creates a “play in dialogues” “Notes of a Russian Traveler”, which emphasizes the importance of trusting friendly communication. The author shows that friendship is very tedious for a person, since, first of all, it strengthens the belief in one's own necessity. "Two is already much more than one." conversational genre determines the features of the poetics of this play. Before us are the conversations of friends about this and that. In the play "The City" there is an alternation of conversations (dialogues) and monologues. Attempts to overcome longing and loneliness, which permeated main character works. At some point, he simply gets tired of life, and mainly not from its dramas and tragedies, but rather from the monotony, monotony, repetition of the same thing. He wants bright, unusual, he even wants to leave hometown, leave the family; its internal throwing reflects the text. In the end, a person largely rethinks himself and gains mutual language with the world, with loved ones. An attempt to re-evaluate oneself, return to people and gain an additional dimension of life that would give new meaning existence, ends successfully in this play. First of all, the author emphasizes that a person is a medicine for a person.

The plays of Grishkovets carry a humanistic charge and possess to a large extent reliability. Through the known, he penetrates into inner world individual personality and calls its characters to self-renewal, understood not as a change of place, but also as an internal change in a person. Yevgeny Grishkovets became widely known at the turn of the century, but in recent times began to repeat.

Along with realistic and post-realistic, modern playwrights and modernist dramas are creating, primarily dramas of the absurd. The plays by Stanislav Shulyak "Investigation", Maxim Kurochkin's "Opus Mixtum", Petrushevskaya's "Again Twenty-Five" stand out. The emphasis is on the persistent contradictions of socio-political life, which to this day declare themselves. by the most bright work this kind of Skoropanov considers "Again twenty-five" (1993). Using a fantastic convention and exposing the absurdity of what is happening, the author opposes the inexhaustible panopticism, that is, against the state's intrusion into people's private lives. Petrushevskaya defends the right to dissent and otherness in general, to which the champions of the standard, who break other people's destinies, cannot get used to. The play consists of dialogues between a Woman released from prison and a Girl assigned to her for the social adaptation of her and her Child, born in prison. Realizing that this child is a creature that looks more like an animal than a person, the Girl becomes bolder and begins to ask questions prescribed to her by the questionnaire. The younger heroine cannot understand that the Woman is already at large, and threatens with repeated imprisonment. The girl is not given to understand that in front of her is a Woman of extraordinary abilities. Petrushevskaya, as it were, asks the question: does it really matter to the state who exactly she gave birth to? (And from whom did the Virgin Mary give birth? But she is worshiped, because she gave birth to Christ.) Petrushevskaya asserts in the general reader and viewer the category of privacy - everyone's personal territory.

Of the plays written by Petrushevskaya already in the new century, the play Beefem (2001) stands out. The play has a borderline stylistic nature and is close to modernism in terms of the use of fantastic conventionality in it. common name Bifem belongs to Petrushevskaya woman with two heads. The action is moved to the future, when organ transplants, including the brain, turned out to be possible - but very expensive. Bea was one of the first to agree to attach a second head to her body, her head had just dead daughter, speleologist Fem. The heads talk throughout the performance, and it turns out that Bee is very proud of her sacrifice, fulfilling her moral duty to her daughter, and Fem, on the contrary, is terribly tormented, realizing that a woman with two heads will never know either love or marriage, and begs her mother to end with myself. The attachment of heads to a single body symbolizes family ties in Petrushevskaya. The writer preaches equality in the family: if it is not in the family, then where does it come from in society? "Bephem" also contains the features of a dystopia, warning that without a moral transformation, the latest scientific discoveries will lead nowhere and will give rise to freaks.

The Male Zone (1994) is a postmodern play. The writer herself defined the genre as “cabaret”. The action takes place in a conditional "zone", reminiscent of both a concentration camp and one of the circles of hell. The author brings the reader together with images famous people: Lenin, Hitler, Einstein, Beethoven. The game with these images, destroying their cult character, is played throughout the play by Lyudmila Petrushevskaya. Before us are hybrid quotation characters. Each of them retains the well-established features of the image, and at the same time acquires the features of a prisoner, a thieves, shown at the moment of playing a role that is not at all suitable for him, namely: Hitler in the role of the Nurse, Lenin in the form of the moon floating in the sky, Einstein and Beethoven is portrayed, respectively, as Romeo and Juliet. A schizo-absurd reality emerges that distorts the essence of Shakespeare's play. The action takes place under the guidance of an overseer, who personifies the totalitarianism of thinking and logocentrism. In this context, Petrushevskaya's "male zone" turns out to be a metaphor for a totalitarian mass culture that uses the language of false truths. As a result, not only the image of Lenin is desacralized, but also the unconditional worship of any cult in general.

A parody game with images of real historical persons Mikhail Ugarov also performs in the play "Green (...?) April" (1994-95, two editions - one for reading, the second for staging). If Korkia in the play “The Black Man” debunks the image of Stalin created by official propaganda, then Ugarov in his play debunks the image of Lenin and his wife and comrade-in-arms Nadezhda Krupskaya. Like Petrushevskaya, his characters are simulacra. At the same time, the images of the characters are personified under the nominations "Lisitsyn" and "Krupa". Ugarov is in no hurry to reveal his cards and tell who exactly his heroes are. He encourages them to perceive them through the eyes of a young man from an intelligent family, Seryozha, who has no idea with whom the plot pushed him, and therefore is not programmed for Leninist myth. The author creates a purely virtual, that is, fictional, but possible reality. It depicts a chance meeting of Seryozha on an April day in 1916 on Lake Zurich in Switzerland with two strangers. The very appearance of these two sets the viewer in a comedic mood: they ride on bicycles, and the woman immediately falls, and her companion bursts into laughter and cannot calm down for a long time. These two figures are reminiscent of clowns and bring to mind a standard circus trick of mimicry. "Lisitsyn" so exaggeratedly inadequately reacts to the fall of his wife that for a long, long time he cannot take a breath from laughter. "Lisitsyn" is an active, lively subject of short stature, "Krupa" is presented as a clumsy fat woman with a dull expression on her face. In this tandem, "Lisitsyn" plays the role of a teacher, and "Krupa" - the role of his unintelligent student. "Lisitsyn" always teaches everyone, while showing sharp intolerance and rudeness. The couple are located on the same clearing as Seryozha, and begin to behave, to put it mildly, uncivilized. "Lisitsyn" rants all the time and generally behaves extremely shamelessly. Seryozha first met people of this kind and barely tolerates what is happening, but, as a well-mannered person, he is silent. “Lisitsyn” feels radiated disapproval and decides to “teach” Seryozha: he lures him into his circle and teaches that intelligence is unfreedom. “And here I am,” says Lisitsyn, “very free man". In pseudo-cultural conversations, "Lisitsyn" tries in every possible way to humiliate Seryozha and, moreover, to get him drunk. Leaving a completely drunken young man in the pouring rain, the well-rested "Lisitsyn" and "Krupa" leave for Zurich. And the bride of Seryozha should arrive by evening train.

Playing with the image of the leader, Ugarov not only deprives him of propaganda humanity, but also recreates the very model of relationships Soviet state with its citizens, based on disrespect for a person, non-observance of his rights, so that everyone could break their fate at any moment. The debunking of the cult figures of the totalitarian system is an important step towards overcoming it.

"Stereoscopic pictures privacy» (1993) Prigov - about mass culture. Prigov shows that Mass culture our time has been transformed. The all-suppressing ideological imperative is being replaced by a strategy of soft seduction, feigned flattering flirting, sweet-voiced bullying. This is a more disguised and sophisticated way of influencing the sphere of consciousness and the unconscious. It contributes to the formation and taming of standard people, as it imitates the fulfillment of their desires. Remains unchanged, shows Prigov, falsification of the image of reality, profanity spirituality, destroying it in man. Prigov in the play examines the impact on people of mass television production. Talk shows attract his attention, in which there can be nothing bad, depressing, unbearable for the brain. If there is an appearance of conflict, it is conflict between the good and the best. Prigov builds the play from a series of miniature scenes (28 in total). These are episodes from the life of one family. the main role in miniatures belongs to the comic dialogue. Trendy topics are covered: sex, AIDS, rock music. Meanwhile, quite certain ideas are gradually being suggested:

The main thing in life is sex. "Young generation, leave power and money to us, and take sex for yourself."

Communists - good people. A dialogue between a grandson and a grandmother is given. The grandson was told at school about the communists, and the grandmother convinces him of the idea that the communists are "some kind of wild."

There is what the majority believes. "Masha, do you believe in God?" - "Most believe, so, probably, there is a God."

After almost every one of the 28 scenes, applause is heard. This is done in order to evoke a programmed reaction in a possible viewer.

Aliens suddenly appear, but none of the family members care about him. Then the monster appears. "Is that you, Denis?" "No, it's me, the monster." - "Oh, okay." The monster eats the mother, and then the rest of the family. The monster symbolizes the power of mass media over man. But finally, when the monster eats the alien, both are annihilated. The alien is a symbol of the true, "other" culture, which alone is capable of resisting mass culture.

The recorded applause continues after no one is left on stage. Except for Masha and God, all other characters are eaten. The monster replicated itself, it penetrated the souls of people.

At the turn of the century, a generation of twenty-year-olds entered dramaturgy. Their writings tend to be exceptionally dark and explore the problem of evil in one form or another. The main place in the plays is occupied by images of inhumanity and violence, most often not from the side of the state, but evil that is rooted in people's relations and testifies to how their souls are crippled. Such are Sigarev's Plasticine, Konstantin Kostenko's Claustrophobia, Ivan Vyropaev's Oxygen, and the Presnyakov brothers' Pub. There were no such gloomy plays and in such quantity even in the days of the underground. This testifies to disappointment in the values ​​of modern civilization and in man himself. Nevertheless, by contradiction, thickening black colors, young authors defend the ideals of humanity.

Exclusively great place in modern dramaturgy, remakes are also occupied - new, modernized versions famous works. Playwrights turn to Shakespeare, as evidenced by Hamlet. Version" by Boris Akunin, "Hamlet. Zero Action" by Petrushevskaya, "Hamlet" by Klim (Klimenko), "A Plague on Both Your Houses" by Grigory Gorin. Of the Russian authors, they turn to Pushkin (“Dry, ziben, ace, or Queen of Spades"Nikolai Kolyada), Gogol ("Old World Love" by Nikolai Kolyada, "Bashmachkin" by Oleg Bogaev), Dostoevsky ("Paradoxes of Crime" by Klim), Tolstoy ("Anna Karenina - 2" by Oleg Shishkin: the option that Anna remained alive is allowed), Chekhov ("The Seagull. Version" by Akunin). The criteria of the classics in assessing the present are recognized as more objective than any ideological criteria. In other cases, they argue with the predecessors or deepen their observations. But first of all, dramaturgy refers to the universal values ​​bequeathed by the classics. The best of the plays created by modern playwrights have become the property of not only Russian but also foreign dramaturgy.

Our scandal turned out to be enchanting, this has never happened before. Usually, if Oleg or I start talking in a raised voice, Tomochka immediately appears and quickly blows out the fire. But on that day, we, that's really a rarity, were completely alone at home. Semyon, Tomusya, Nikita and Kristina went to a rest house near Moscow and bought vouchers for ten days. Oleg and I were supposed to join them on December 31 to have fun together New Year.

So now no one bothered us to swear. At first, Oleg said that his wife was "a lazy person, a careless creature, a disgusting housewife who thinks only of stupid things." I got offended and replied:

- By the way, these nonsense, that is, my books, feed the family.

“I received a good fee only twice, and I already spread my fingers,” Kuprin hissed.

“Not two, but four,” I reminded, “better remember how much money you were able to buy a foreign car with, huh?” It is from my fees that the necessary amount has accumulated, your salary is spent entirely on food!

Oleg gritted his teeth.

- You are Saltychikha! he suddenly declared.

Can I not tell you the whole scandal? It ended terribly, Oleg grabbed a sheepskin coat and ran out of the house with a cry:

- Divorce!

I ran across empty apartment, then unexpectedly fell asleep, prokemaril almost until noon the next day, yawning, climbed out into the kitchen and suddenly realized that yesterday she hadn’t got to the publishing house, but they were waiting for me there with titles for a new manuscript.

I grabbed the phone. My editor Olesya Konstantinovna, alas, now sits at home with a child. Rather, I am very glad that Olesya had a son. As Viola Tarakanova, I was completely delighted with this news, but it became very difficult for the writer Arina Violova. Laconic, calm, never tearing her hair either on her own or on someone else's head, Olesya dragged a huge cart full of manuscripts. In an incomprehensible way, she always managed to read them in time, correct them and put them into production. They say that even in the prenatal ward, she read another Smolyakova. By the way, a completely anecdotal incident happened to Olesya. Barely having given birth to a son, she grabbed new story Milady. The manuscript should have been edited quickly, the publishing house is extremely interested in Smolyakova's books, and Milada, a sweet blue-eyed blonde, with the most affectionate smile, said to the owner of "Marco":

- My detectives will be ruled only by Olesya, I won’t trust my novels to anyone else. Olesya in the hospital? So I won't give you the book.

That's why poor Olesya Konstantinovna went to give birth in an embrace with another imperishable Milada and, barely recovering, grabbed the handle in order to ennoble the detective's next opus.

Olesya's husband arranged for his beloved wife in the box (this is such a compartment of two rooms, between which there is a bathroom). Olesya lay in one ward, and the second was occupied by a lady who was looked after by a very active, talkative mother.

After working on the manuscript, Olesya decided to put a stack of paper on the bedside table, and then the very talkative mother of the neighbor looked into the room.

"Do you need anything, baby?" she asked.

Obviously, the aunt's daughter fell asleep, and the lady had nowhere to direct the overflowing activity.

“Thank you,” Olesya replied, “everything is in order.

She hoped that the lady would leave, but she was not going to leave the ward.

- Oh, you're all alone!

“My husband went to buy a crib,” the editor calmly explained.

- Oh, you're bored!

- No, - Olesya tried to fight back, - I'm just fine!

- You are sad!

- No, everything is wonderful.

- Oh, me now!

Before Olesya had time to gasp, the lady rushed into the next room and returned in an instant, holding a tall pile of books.

“Here, dear,” she said happily, “read it. By God, you will like it, have fun, forget about sadness. Why didn't you take your books with you? By the way, are you familiar with this author? I heartily recommend!

A long groan escaped Olesya's chest. The fussy lady handed the poor editor a dozen volumes of Smolyakova. Can you imagine how happy the unfortunate young mother was when she had just put down Milada's manuscript? She personally brought all the novels she brought to mind and knew them almost by heart.

But I am not Smolyakova, "Marko" does not really need the works of Arina Violova, so a girl named Fira is now working on my manuscripts. After talking with the new editor a couple of times, I came to the deepest amazement: well, why on earth does "Marco" keep such an employee? Having handed over new book Olesya, after a while I received a list of shortcomings that should have been eliminated. Olesya Konstantinovna never made fun of me and did not express herself in vague phrases, Fira acts differently.

- Yes? I got scared.

- Some kind of nonsense, - Fira grimaced, - on the fifteenth page the dog disappeared, and on the forty-eighth it seemed to be seen.

“There is an explanation for this fact at the end of the book,” I reminded him.

“I haven’t read the epilogue yet,” Fira said, “but it’s already incomprehensible and I don’t like it. Write better.

“Let’s fix it,” I suggested.

- No need, it will. Write better.

- How? I got lost.

– What do you mean?

Fira rolled her eyes.

- Well ... if I had found the time, I would have written the book differently, better, that is, more talented. Only I have to edit someone else's junk, in general, work on yourself.

You understand that after such a conversation, the desire to communicate with Fira disappeared from me forever. And also my current editor is a terribly optional, constantly ill girl. Now she has problems with her teeth, then with her ears, then her head hurts. Probably, for this reason, Fira's face does not leave a displeased grimace, and in her voice one can hear the phrase not spoken aloud: "How tired of you all are."

“Hello,” came the phone.

“Yes,” the girl muttered and coughed desperately.

Everything is clear, now she has bronchitis, but she will stop complaining about her heart and gastritis.

Arina is worried. My…

“Oh-oh-oh,” Fira interrupted me, “you again!”

“Well, yes,” I replied, slightly confused by the outright rudeness. - And what? Am I so tired of you?

“Until death,” said Fira, “stop ringing!” You've already made everyone faint.

For a moment I was numb, but then, gathering all my will into a fist, I whispered:

Are you saying that my book...

“Listen,” Fira interrupted me, “only scumbags crept into the Marco, unable to tell a person the truth. But, thank God, I'm different. You are an absolutely untalented person, stop wandering around the corridors of the publishing house, they simply cannot say to you: "Leave us alone." The manuscript is terrible, in it ...

I dropped the phone like a poisonous snake. Strangely, there were no tears. Probably because I had been expecting such a rebuke for a long time, believing that I was occupying someone else's place: it was better for Viola Tarakanova not to start writing detective stories, Arina Violova died quietly, there was no salute over her grave and no crowds of fans began to sob. I had to admit: the path of a prose writer is not for me.

Before the storm had subsided in my soul, the bell rang, I carefully picked up the phone and, preparing for the next trouble, asked:

- Who's there?

“One hundred grams and a cucumber,” Remizov answered, giggling. - Wow! Who talks like that?

“Did you call me to give me a lesson in how to talk on the phone?” I got angry.

“What an evil you are,” Slavka sighed, “now it’s clear why Oleg decided to get a divorce. I, the fool, decided to reassure you, to say: "Don't worry, Vilka, Oleg is with me for the time being, we will celebrate the New Year together." Well, he does not want to see you, nothing, then make peace. And you are like a dog: woof-woof. No would think with your head: who needs you with such a character? Damn writer.

At the turn of the century, a generation of twenty-year-olds enters dramaturgy. Their works, as a rule, are exceptionally gloomy and, in one form or another, explore the problem of evil. The main place in the plays is occupied by the depiction of inhumanity and violence, more often than not by the state, but by evil, which is rooted in people's relations and indicates that their souls are crippled. Such "Plasticine" by Sigarev, "Claustrophobia" by Konstantin Kostenko, "Oxygen" by Ivan Viropaev, "Pub" by the Presnyakov brothers. There were no such gloomy plays and in such quantity even in the days of the underground. This testifies to disappointment in the values ​​of modern civilization and in man himself. Using the opposite method, thickening black colors, young authors defend the ideals of humanity.

A significant place in modern drama is also occupied by remakes - new, modernized versions of famous works. Playwrights turn to Shakespeare, as evidenced by Hamlet. Version" by Boris Akunin, "Hamlet. Zero Action" by Petrushevskaya, "Hamlet" by Klim (Klimenko), "A Plague on Both Your Houses" by Grigory Gorin. From Russian authors, they turn to Pushkin (“Dray, Zieben, Ass, or the Queen of Spades” by Kolyada), Gogol (“Old World Love” by Kolyada, “Bashmachkin” by Bogaev), Dostoevsky (“Paradoxes of Crime” by Klim), Tolstoy (“Anna Karenina - 2 "Shishkin: the option is allowed that Anna remained alive), Chekhov ("The Seagull. Version" by Akunin).

The leading theme of modern dramaturgy is man and society. Modernity in the faces reflects the work of realist playwrights. One can refer to such works as "Competition" by Alexander Galin, "French passions at a dacha near Moscow" by Rozumovskaya, "Trial interview on the topic of freedom" by Arbatova and many others. Maria Arbatova managed to arouse the greatest interest among representatives of realistic drama in the 1990s thanks to feminist issues new to Russian literature.

The criteria of the classics during the assessment of modernity are recognized as more objective than any ideological criteria. In other cases, they argue with the predecessors or deepen their observation. But first of all, dramaturgy refers to the universal values ​​bequeathed by the classics. The best of the plays created by modern playwrights have become the property of not only Russian but also foreign dramaturgy.

Russian literature of the late XX - early XXI Art. generally of considerable interest. She teaches to think, forms a moral feeling, objects to the ugly, giving (often in an indirect form) an idea of ​​​​the beautiful and desirable.

The concept of "modern dramaturgy" is very capacious both chronologically (late 1950s - 60s) and aesthetically. A. Arbuzov, V. Rozov, A. Volodin, A. Vampilov - the new classics have been significantly updated traditional genre Russian realistic psychological drama and paved the way for further discoveries. Evidence of this is the work of playwrights " new wave"1970-80s, including L. Petrushevskaya, A. Galin, V. Arro, A. Kazantsev, V. Slavkin, L. Razumovskaya and others, as well as the post-perestroika "new drama" associated with the names of N. Kolyada, M. Ugarov, M. Arbatova, A. Shipenko and many others.

Modern dramaturgy is a living multifaceted artistic world, seeking to overcome the patterns, standards developed by the ideological aesthetics of socialist realism and the inert realities of stagnant time.

It was the Soviet dramaturgy that openly proclaimed the need for the restructuring of society, social, economic and moral. Playwrights of the 60s - early 80s and their heroes with enviable perseverance and courage showed with theater stage the vices of the system that criminally destroys the country, nature, human consciousness. Under conditions of ideological dictatorship, civic courage was also shown by talented theater directors such as G. Tovstonogov, Yu. Lyubimov, O. Efremov, A. Efros, M. Zakharov. Their colossal efforts created publicistically passionate performances-rallies "Man from outside" (based on the play by I. Dvoretsky), "Minutes of one meeting" by A. Gelman, "So we will win!" and "The Dictatorship of Conscience" by M. Shatrov; performances-parables with a deep socio-philosophical overtones based on the plays of Gr. Gorin ("Forget Herostratus!", "The Same Munchausen"), E. Radzinsky ("Conversations with Socrates", "The Theater of the Times of Nero and Seneca"), A. Volodin ("Two Arrows", "Lizard"), national Soviet playwrights (I. Druta, A. Makaenka, K. Sai and others). During the years of stagnation difficult fate the unfading "Chekhov branch", the domestic psychological drama, represented by the plays of Arbuzov, Rozov, Volodin, Vampilov, also had it. These playwrights invariably turned the mirror inward. human soul and with obvious anxiety they recorded, and also tried to explain the causes and process of the moral destruction of society, the devaluation of the "moral code of the builders of communism." Together with prose by Y. Trifonov and V. Shukshin, V. Astafiev and V. Rasputin, songs by A. Galich and V. Vysotsky, sketches by M. Zhvanetsky, screenplays and films by G. Shpalikov, A. Tarkovsky and E. Klimov, plays by these authors were riddled with screaming pain: “Something has happened to us. This happened under the most severe censorship, during the birth of samizdat, aesthetic and political dissidence, and the underground.

In the mid-1980s, on the wave of "perestroika", many works managed to make their way into print and onto the stage. First of all, these are anti-Stalinist and anti-Gulag plays ("Kolyma" by I. Dvoretsky, "Anna Ivanovna" by V. Shalamov, "Troika" by Y. Edlis, plays by A. Solzhenitsyn), as well as " Brest Peace" M. Shatrova, "Kastruchcha" and "Mother of Jesus" by A. Volodin. In the play "The Seventh Labor of Hercules" M. Roshchin came up with an original image of the goddess of lies Ata, who, posing as Truth and calling black white and vice versa, freely ruled in impoverished Hellas "developed socialism".

Gorbachev's perestroika, which began in Soviet society, seriously changed the cultural situation. And then a paradoxical psychological reaction arose. Having finally received the long-awaited freedom and publicity, many were simply confused. However, this also had its advantages, when a wise desire arose "not to run, but to stop in order to understand the meaning of what is happening."

The most positive thing was that under the new circumstances, the appeals of art officials to writers to be a "rapid response team", create plays "on the topic of the day", "keep up with life", "reflect" as soon as possible, hold a competition for " best play about ... "perestroika". This was rightly said on the pages of the magazine " Soviet culture" V. S. Rozov: "Forgive me, this is something in the spirit of the old times ... There cannot be such a special play" about perestroika ". A play can be just a play. And plays are about people. Similar thematic restrictions will inevitably give rise to a stream of pseudo-topical hack-work.

So it started new era when the bar was raised high for the criteria of truth and artistry in the reflections of playwrights about today. "Today's audience is far ahead of both the theatrical fleeting fashion and the attitude towards oneself from top to bottom from the side of the theater - he is hungry, waiting for a smart, non-futile conversation about the most important and vital, about ... eternal and imperishable," Y. Edlis rightly notes.