Alexey A. Gromov
Moscow City University
Gromov A.V. The absurdity of Anton Chekhov’s vaudevilles as a form of comprehension of the passing era. Vestnik of Kostroma State University, 2022, vol. 28, № 3, pp. 103–108 (In Russ.). https://doi.org/10.34216/1998-0817-2022-28-3-103-108
DOI: https://doi.org/10.34216/1998-0817-2022-28-3-103-108
УДК: 821.161.1.09’’19’’
Publish date: 2022-09-05
Annotation: In the artistic world of Anton Chekhov’s vaudeville, we observe the collision of two worlds: the old and the new. The first world is a space of officials, bureaucracy and “official truthˮ. This is countered by an unpredictable world of hilarious absurdity and buffoonery. The article discusses the concept of updating an outdated form of life, which is part of the unique poetics of the absurd by Anton Chekhov. The main technique is the grotesque, presented on the pages of Anton Chekhov’s plays in both the modernist version of its development and the realistic one. If the modernist grotesque is the territory of satire, where everything “inappropriateˮ, new and unusual is condemned and ridiculed by the norms of the old world, then the realistic grotesque performs the function of eliminating or updating everything outdated through comprehensive ambivalent laughter, which is a refreshing foundation. Carnival laughter cleanses from everything dogmatic, removes ˮofficialˮ prohibitions, opening the doors to a new world free from edification. The cheerful absurdity of folkish life accompanies the outdating world and meets the emerging one in the same way as Anton Chekhov’s work saw off the epoch of the 19th century, meeting the new world of the 20th century.
Keywords: vaudeville, absurd, grotesque, carnivalisation, ambivalent laughter, caricature
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Author's info: Alexey A. Gromov, Master Student, Moscow City University, Moscow, Russia, grymepe4orina@yandex.ru, https://orcid.org/0000-0002-3279-5376