Paroding of classical tragedy codes in dramaturgical experiments A. V. Sukhovo-Kobylin and N. R. Erdman

The parodic reception of genre signs of tragedy is one of the most important characteristics of the poetic organization of A.V. Sukhovo-Kobylin and N.R. Erdman. The material of the research was the comedy-joke A. V. Sukhovo-Kobylin “Death of Tarelkin” and the play by N. R. Erdman “Suicide”. The plays of Sukhovo-Kobylin and Erdman within the framework of this work are considered from the point of view of a parody game with a traditional form-meaning genre unit. Parodying a form is possible in the presence of stable, canonical features. And it was the filling of the classical form with new, unexpected meanings that the playwrights of the 19-th and 20-th centuries undertook in the process of parodic comprehension of the genre of tragedy. The seeming fatal predetermination in the dramas of Sukhovo-Kobylin and Erdman is realized in a parody world: Rock is invented (Tarelkin) and imposed (Podsekalnikov). If the hero of the tragedy acted from high motives (even if it was a blood feud), then the hero of the new time enters into a struggle with everyday, purely material and even deliberately reduced circumstances, which creates a parody effect. The hero of a classic tragedy is parodied by unremarkable characters playing a fight with death. Tarelkin and Podsekalnikov balance on the edge of two worlds, choosing a simple and understandable way out of the conflict in the finale. Tarelkin, initially putting on the mask of a tragic hero, and rushing between the desire to live and the “need” to die Podsekalnikov, “resurrecting” from the smell of kutia, “play out” the tragedy, looking at his body from the side. Sukhovo-Kobylin, leaving the ending open, parodies the compositional structure of the tragedy: the game with Rock ends at the request of the hero himself. Erdman allows the action to be a parody of catharsis inspired by the law of ancient tragedy. Parodic understanding of the conflict, such as the hero, his sacrificial function and suffering, compositional organization in the artistic system of the comedy-joke Sukhovo-Kobylin “Death of Tarelkin” and Erdman’s play “The Suicide” performs several important functions. On the one hand, it expands the “understanding” (M. Bakhtin) potential of the genre, contributes to its renewal and development, the creation of new genre formations. On the other hand, it reflects the depth and versatility of the authors’ artistic thinking, the specificity of their idiostyle. The transformation of the formal content unity of the text, parodying the codes of classical tragedy in the space of the comedy genre opens up new possibilities for reading the genre canon.

parody, genre, tragedy, conflict, hero, catharsis, composition, experimentation

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