Modern Russian Drama: Scope of the Concept, Problems of Periodization and Typology

Dotsenko Veronika V.,

Postgraduate student at the Department of Theory of Literature

Lomonosov Moscow State University

e-mail: veronika_dotsenko@mail.ru

This article examines the chronological boundaries and classification of modern Russian drama as a phenomenon within the broader literary process. It identifies, describes, and critically analyzes existing approaches to these issues, proposing the concept of the ‘drama of the gap’ as a means of overcoming the ‘semantic ambiguities’ prevalent in studies of the phenomenon. This framework also allows for a more precise positioning of N.V. Kolyada’s and N.N. Sadur’s works within the established ‘new wave’ — “new drama” historical-literary scheme. The study provides a critical review of current typological models, including those based on thematic criterion (A.A. Stepanova), authorial strategies (S.Ya. Goncharova-Grabovskaya), genre-stylistic features (O.V. Zhurcheva), modes of reality representation (M.N. Lipovetsky), dramatic conflict (I.M. Bolotyan and S.P. Lavlinsky), and playwrights’ geographical affiliations. The classification of modern Russian drama proposed by S.Ya. Goncharova-Grabovskaya is clarified by singling out mystical-mythological and farce-mythological substrategies, a refinement necessitated by playwrights’ sustained engagement with conditional-metaphorical representations of fin-de-siècle sociocultural shifts.

Keywords: modern Russian drama, problem of periodisation, ‘new wave’, ‘drama of the gap’, ‘new drama’

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