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Article
Authors: Valentina E. Golovchiner, Natalia A. Babenko Tomsk State Pedagogical University, Tomsk, Russian Federation In the section Study of literature
Abstract: The creative path of Nikolai Erdman commenced with poetry and extended to encompass works for the stage, reviews, scripts for the cinema, and plays for the drama theater recognized by the most talented directors of his time. Not a single Russian play had such success as “Mandat” (“The Mandate”), staged by V. Meyerhold in 1925. His play “Samoubiytsa” (“The Suicide”) (1929) was banned in 1932, along with everything he had written before. Erdman’s plays were translated and staged in different languages during the 1970s, but unfortunately, he did not live long enough to see his works achieve global recognition. The comprehension of Erdman’s plays started with a discussion of the subject of satire. It proceeded in terms of the trends established in the literature on other material, the farcical paradigm of the Russian theater of the early twentieth century, carnivalization, and artistic axiology. For the first time, this paper aims to reveal the unique nature of the organization of the central part of the play under study. For this purpose, the content of the word obozrenie (review) is clarified, and its correlation with the phenomenon and the term kumulyatsiya (cumulation) is identified. The organizing principles revealed in the central part of the play, developed by the most ancient cumulative fairy tale, allow showing the danger of the actions of a prosperous multitude in achieving their selfish goals, the threat to the life of an individual and humanity on the eve of the European cataclysms of the 1930s. Keywords: N. Erdman, V. Ya. Propp, “The Suicide,” review, drama, action, cumulation, fairy tale Bibliography: Bakhtin M. M. Otvet na vopros redaktsii “Novogo mira” [Answer to the question of the editors of “Novyi Mir”]. In: Bakhtin M. M. Estetika slovesnogo tvorchestva [Aesthetics of verbal creativity]. Moscow, Iskusstvo, 1979, pp. 328–325. Erdman N. 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